Primitive People

Primitive People

Titles

Primitive People

[Susan Foister, `Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.]
nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

The Close of the Silver Age (?)

[The National Gallery, revised 2011]

Painting on oak

Medium

Painting on oak

[The National Gallery, revised 2011]
[Klein, Report 1994]

Three naked women with children and four fighting men are set against a grassy foreground and a thick frieze of foliage, extending on the left almost to the top of the picture. The central and right-hand parts of the hedge are lower, revealing a landscape background of tall mountains with

Three naked women with children and four fighting men are set against a grassy foreground and a thick frieze of foliage, extending on the left almost to the top of the picture. The central and right-hand parts of the hedge are lower, revealing a landscape background of tall mountains with distant buildings in the centre and on the far right. The men form two pairs: on the left a man holding a still leafy wooden stake lies on the ground with blood streaming down his back, his mouth open in pain; he is being beaten by a standing bearded man with a long stick. On the right lies a bearded man who has evidently just been beaten to the ground by the white-bearded man standing over him, who holds a long leafy stick. In the foreground, on the left, a woman turns open-mouthed to look at the scene, herself holding a stick with the sharper end upwards, as if to defend herself or one of the men. Another woman, standing centrally and clasping the wrists of two babies, appears to be speaking to her. In the right-hand corner of the picture, apparently oblivious to the fighting behind her, a woman reclines in the grass with her baby; it looks up at her over her shoulder, while the baby behind reaches down as if to grab its hair or pluck some grass.

[Susan Foister, `Lucas Cranach the Elder, Primitive People¿ published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

Attributions
Lucas Cranach the Elder
Hans Cranach

Attributions

Lucas Cranach the Elder

[The National Gallery, revised 2011]

Hans Cranach

[Flechsig 1900 A, 268]

Production dates
1527 - 1530
about 1530

Production dates

1527 - 1530

[Susan Foister, `Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.
nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people]

about 1530

[Friedländer, Rosenberg 1979, No. 263]

Dimensions
Dimensions of support: 51.5 x 35.8 cm (including edging strips 51.5 x 38 cm)

Dimensions

  • Dimensions of support: 51.5 x 35.8 cm (including edging strips 51.5 x 38 cm)

  • Dimensions of painted surface: 50.0 x 35.8 cm

  • [Susan Foister, `Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

  • www.nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

Signature / Dating

None

Owner
The National Gallery, London
Repository
The National Gallery, London
Location
London
CDA ID
UK_NGL_3922
FR (1978) Nr.
FR263
Persistent Link
https://lucascranach.org/en/UK_NGL_3922/

Provenance

  • the picture was in the collection of the German businessman George Edward Habich (1818-1901) at Kassel by 1880.[1]
  • this painting was placed on loan to the Königliche Gemäldegalerie, Kassel, from 1880 until April 1892, together with other works owned by Habich.[2]
  • it was lot 86 in the sale of the Habich collection of paintings sold by Lempertz, Heberle and Schall at Kassel on 10 May 1892, where it was bought by J.P. Richter for Dr Ludwig Mond.
  • it was acquired by the National Gallery in 1924 as part of the Mond Bequest. [3]

[1] Habich was a collector of paintings and other works who spent much of his life in Boston, where he donated works to the Museum of Fine Arts in 1892.
[2] A letter of 21 January 1935 in the NG dossier from the Gemäldegalerie Kassel confirms that the Habich collection was at the Kassel Gallery from 1880 until April 1892.
[3]National Gallery archive: National Gallery Minutes of Board Meetings: 9th August 1907: Letter read from the Right Hon Lewis Harcourt on Dr Ludwig Mond's intention to bequeath his collection to the National Gallery, and to provide the money for a room to keep the pictures together.; 26th June 1924 (see for final list of paintings to be retained by the National Gallery, and those to be returned)

[Susan Foister, 'Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.]
www.nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

Exhibitions

Kassel 1880-92, on loan
London 1975, No. 62
London 1983-4
London 1997
Frankfurt, London 20072008, No. 105
Rome 2010, No. 6
Düsseldorf 2017, No. 134

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Düsseldorf 2017 234 No. 134
EditorGunnar Heydenreich, Daniel Görres, Beat Wismer
TitleLucas Cranach der Ältere. Meister - Marke - Moderne. [anlässlich der Ausstellung "Cranach. Meister - Marke - Moderne", Stiftung Museum Kunstpalast, Düsseldorf, 08. April 2017 - 30. Juli 2017]
Place of PublicationMunich
Year of Publication2017
Exhib. Cat. Gotha, Kassel 2015 208
EditorJulia Carrasco, Justus Lange, Stiftung Schloss Friedenstein, Gotha, Benjamin D. Spira, Timo Trümper
TitleBild und Botschaft. Cranach im Dienst von Hof und Reformation, [Gotha, Herzogliches Museum; Kassel, Gemäldegalerie Alte Meister, Schloss Wilhelmshöhe]
Place of PublicationHeidelberg
Year of Publication2015
Sandner, Heydenreich, Smith-Contini 2015 132, Fn. 33
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Exhib. Cat. Rome 2010 146 - 149 No. 6 Pl. p. 147, Pl. p. 149 (detail)
EditorGalleria Borghese, Rome, Anna Coliva, Bernard Aikema
TitleCranach. L'altro rinascimento / a different renaissance, [Rome, Galleria Borghese 15 ottobre 2010 - 13 febbraio 2011]
Place of PublicationMilan
Year of Publication2010
Martin 2010 Fig. p. 48
AuthorAndrew John Martin
TitleLucas Cranach et l'arte delle corti del Nord; Lucas Cranach and the Art of the Northern Courts
Publicationin Anna Coliva, Bernhard Aikema, eds., Cranach l¿altro rinascimento, a different Renaissance, Exhib. Cat. Rome
Place of PublicationMilan
Year of Publication2010
Pages48 - 61
Evans 2007 58
AuthorMark Evans
Title"Die Italiener, sonst so ruhmsüchtig, bieten Dir die Hand": Lucas Cranach und die Kunst des Humanismus
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. Frankfurt
Place of PublicationOstfildern
Year of Publication2007
Pages49-61
Exhib. Cat. Frankfurt 2007 336-339 105 pp. 337-339
EditorBodo Brinkmann
TitleCranach der Ältere, [Frankfurt, Städel Museum, 23 Nov 2007 - 17 Feb 2008]
Place of PublicationOstfildern
Year of Publication2007
Foister 2007 54-57
AuthorSusan Foister
TitleBefore the Fall. Adam and Eve and some Mythological Paintings by Cranach
Publicationin Caroline Campbell, ed., Temptation in Eden. Lucas Cranach's Adam and Eve, Exhib. Cat. London
Place of PublicationLondon
Year of Publication2007
Pages46-61
Foister 2003 123-127 Fig. 7
AuthorSusan Foister
TitleCranachs Mythologien. Quellen und Originalität
Publicationin Heinz Spielmann, Werner Schade, eds., Lucas Cranach. Glaube, Mythologie und Moderne, Exhib. Cat. Hamburg 2003
Place of PublicationOstfildern-Ruit
Year of Publication2003
Pages116-129
Bierende 2002 250-258
AuthorEdgar Bierende
TitleLucas Cranach d.Ä. und der deutsche Humanismus. Tafelmalerei im Kontext von Rhetorik, Chroniken und Fürstenspiegeln
Place of PublicationBerlin
Year of Publication2002
Cat. London 1999 179ff.
AuthorJill Dunkerton, Susan Foister, Nicholas Penny
TitleDürer to Veronese. Sixteenth-Century Painting in The National Gallery
Place of PublicationNew Haven, London
Year of Publication1999
Campbell et al. 1997
AuthorLorne Campbell, Susan Foister, Ashok Roy
TitleMethods and materials of Northern European painting in the National Gallery, 1400-1500
JournalNational Gallery Technical Bulletin
Issue18
Year of Publication1997
Pages6-55
Exhib. Cat. London 1997
EditorThe National Gallery, London
TitleCranach. A Closer Look [National Gallery, London, 18.06-07.09.1997]
Place of PublicationLondon
Year of Publication1997
Bonnet 1994 144
AuthorAnne-Marie Bonnet
TitleDer Akt im Werk Lucas Cranachs. Bedeutung und Spezialitat der "nackten Bilder" innerhalb der deutschen Renaissance-Malerei
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds., Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
Place of PublicationAugsburg, Coburg
Year of Publication1994
Pages139-149
Cat. London 1985 94
AuthorAlistair Smith
TitleThe National Gallery schools of painting. Early Netherlandish and German paintings
Place of PublicationLondon
Year of Publication1985
Exhib. Cat. London 1983
EditorThe National Gallery, London
TitleAcquisition in Focus - Albrecht Altdorfer - Christ taking Leave of His Mother, [National Gallery, London, 26 October 1983 - 8 January 1984]
Place of PublicationLondon
Year of Publication1983
Friedländer, Rosenberg 1979 122 263 Fig. 263
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Exhib. Cat. London 1975 62
EditorThe National Gallery, London
TitleThe Rival of Nature - Renaissance Painting in its Context, National Gallery, London, 10 June - 28 September, 1975
Place of PublicationLondon
Year of Publication1975
Exhib. Cat. Basel 1974/1976 497, 498
AuthorDieter Koepplin, Tilman Falk
TitleLukas Cranach. Gemälde, Zeichnungen und Druckgraphik
Volume1, 2
Place of PublicationBasel, Stuttgart
Year of Publication1974
Link http://nbn-resolving.de/urn:nbn:de:bsz:16-diglit-104522
Schade 1974 70, 79
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Ettlinger 1961 137
AuthorL. D. Ettlinger
TitleReflections on German Paintings [review of Michael Levey, The German School, 1959]
JournalBurlington Magazine
IssueVol. 103, No. 697
Year of Publication1961
Pages132 - 138
Cat. London 1959 21-23
AuthorMichael Levey
TitleNational Gallery Catalogues. The German School
Place of PublicationLondon
Year of Publication1959
Posse 1942 62
AuthorHans Posse
TitleLucas Cranach d. Ä.
Place of PublicationVienna
Year of Publication1942
Friedländer, Rosenberg 1932 215
AuthorMax J. Friedländer, Jakob Rosenberg
TitleDie Gemälde von Lucas Cranach
Place of PublicationBerlin
Year of Publication1932
Link http://digi.ub.uni-heidelberg.de/diglit/friedlaender1932
Richter 1910 589-590
AuthorJean Paul Richter
TitleThe Mond Collection. An appreciation
Place of PublicationLondon
Year of Publication1910
Link https://dlib.biblhertz.it//KatP-MON1355-5100-2
Flechsig 1900 A 268
AuthorEduard Flechsig
TitleCranachstudien
Volume1
Place of PublicationLeipzig
Year of Publication1900
Link page/n5/mode/2up
Schuchardt 1871 130f.
AuthorChristian Schuchardt
TitleLucas Cranach des Aeltern Leben und Werke. Dritter Theil
Place of PublicationLeipzig
Year of Publication1871
Link http://digi.ub.uni-heidelberg.de/diglit/schuchardt1871bd3
Schuchardt 1851 C 132ff.
AuthorChristian Schuchardt
TitleLucas Cranach des Aeltern Leben und Werke. Zweiter Theil
Place of PublicationLeipzig
Year of Publication1851
Link http://digi.ub.uni-heidelberg.de/diglit/schuchardt1851bd2

Research History / Discussion

For further discussion of this painting see:

[Susan Foister, ‘Lucas Cranach the Elder, Primitive People’ published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

  • Primitive People, 1527 - 1530

Images

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  • analysis
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Technical studies

2016Technical examination / Scientific analysis

Support

- the support is an oak panel consisting of a single board of wood about 0.6 cm thick which is tangentially cut.[1]

[1] Report by Dr Peter Klein of 8 March 1994 in the NG dossier. The tangential cut of the wood precludes dendrochronological dating.

Ground and Imprimatura

The white ground is chalk. It continues to the side edges of the panel but at the top and bottom the ground and paint end just short of the edge with a slight 'barbe', leaving narrow strips of bare wood which would have been covered by an engaged frame.[1] In places along these unpainted edges there are traces of ground where it seeped under the frame when it was applied. No canvas or fibre reinforcement between panel and ground can be seen in X-radiographs. There does not appear to be a priming layer over the ground.

[1] At this period it is also possible that temporary slotted wooden battens were in place top and bottom when the ground was applied, rather than a permanent engaged frame.

Underdrawing

Nothing that could definitely be identified as black underdrawing could be found with infrared reflectography. In most places simple outlining in the surface paint masks any underdrawing that might be present, although a few lines, for example in the the back of the head and legs of the standing female figure in the centre, may be underdrawing in black that was not exactly followed. Examination of the surface with a microscope, however, revealed lines of red pigment below the uppermost layers of paint. These red lines appear to be performing the role of underdrawing. It has not been possible to identify the red material used. The lines can only be seen where the paint over them is pale in colour and thinly applied. They have been found in many areas, notably along several contours of the figures, and in the landscape.Where red lines were found they were less close to the final composition than the black lines mentioned above and so were probably drawn first.

Paint Layers and Gilding

Heat-bodied linseed oil was detected by GC–MS analysis in samples taken from the green paint of the foliage and in samples of blue and white paint taken from areas of the sky.

Looking at the surface of the painting with a stereomicroscope, and at the paint cross-sections taken during cleaning in 1963, it is evident that the artist has underpainted the background, but not the figures, with varying shades of grey. In a sample from the green grass, this underpaint has a mid-grey tone and consists of lead white mixed with charcoal black and a little vermilion. In some places it can be seen to be thinly applied and streaky, for example in a small area at the right of the foreground where it is not completely covered by the green paint on top. Under the dark green of the background trees it is almost black, with just a little white and vermilion, and is again thin and streaky, as can be seen where it continues slightly beyond the foliage under the thin light grey rocks of the outcrop on the left. A similar thin dark paint is present under the blue parts of the sky and the distant mountains, rocks and buildings. The green paint is based on verdigris,[1] with varying amounts of lead-tin yellow and lead white. In the sky a mixture of lead white, azurite and a little pale red lake has been used. The flesh paint is composed of a mixture of lead white, red lake (with red fibres indicating that it was prepared from dyed textile shearings), black pigment of large particle size, and vermilion. More of this last pigment is present in the ruddier flesh of the standing men than in the pale flesh of the women. In general, the paint is quite thinly applied, although with slight impasto for highlights on leaves, and the small spots of white lichen on the trunk and branches of the trees at the left. In places it has been worked wet-in-wet, for example where it has been feathered to soften the contour at the edge of the central rock.

[1] Verdigris was identified by ATR–FTIR imaging.

[Susan Foister, ‘Lucas Cranach the Elder, Primitive People’ published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

www.nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

04. 1995Scientific analysis

  • Micro-sampling / cross-sections
  • Instrumental material analysis

Media analysis:

Heat-bodied linseed oil medium was identified by GC-MS analysis in all three samples; green foliage (bottom edge), white sky, blue sky with dark paint (possibly priming?) below. No ratios recorded.

Green foliage, bottom edge, left-hand side (NB. This green was not particularly transparent).

FTIR-microscopy suggested the use of a drying oil as paint medium. This was confirmed by GC-MS.. The source of the drying oil was linseed, which appeared to have been heat-prepolymerized. Ther was no indicatioin of the presence of natural resins. The green appeared to be a mixture of yellow (lead/tin yellow?) and blue; no verdigris or copper resinate appeared to be used as pigment, but the inorganic reports should be checked for confirmation of this.

White sky above horizon, right-hand edge

GC-MS analysis suggested the use of a heat-bodied linseed oil as paint medium for this sample.

Blue sky with a little dark paint (possible priming?) beneath

Heat bodied linseed oil was identified as the paint vehicle for both layers

[NG 1995-04, National Gallery archive 2016]

09.02.1995Technical examination / Scientific analysis

  • Micro-sampling / cross-sections
  • analysis
  • analysis

Sample taken by Marika Spring 09.02.1995. Observations under stereomicroscope: grey; looks like charcoal (?) black and white; light green and then darker green – both look more like verdigris, although it is quite a blue-green

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Plain green background for grass.

Sample location: Plain green background for grass.

Sample number: 1995/1

Examination methods: microscopy

Observations:

• varnish and overpaint?

• brownish green layer (with pigment as below)

• green pigment (verdigris?) combined with lead white and a very few particles of red (earth?) and black.

• grey underpaint, black (looks like charcoal) and lead white

Comments:

  • analysed by Marika Spring

08.03.1994Scientific analysis

  • Identification of wood species / Dendrochronology

Support

Identification of wood species: oak

  • analysed by Peter Klein

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Flesh of old man

Sample location: top right, from edge of proper right thigh.

Sample number: 1963/7

Examination methods: microscopy

Observations:

• lead white combined with a little vermilion (?) red and yellow (earth?) pigments and black

• chalk ground

Comments:

NB a note by A. Roy suggests checked whether Samples 6 & 7 have been reversed.

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Flesh of female figure (centre)

Sample location: from along crack in panel, just right of centre, above nipple.

Sample number: 1963/6

Examination methods: microscopy

Observations:

• lead white combined with a little vermilion (?) red and yellow (earth?) pigments, red lead (?) and black

• chalk ground

Comments:

NB a note by A. Roy suggests checked whether Samples 6 & 7 have been reversed.

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Brownish green of grass

Sample location: from small damage near proper left bicep of reclining female figure (bottom right).

Sample number: 1963/5

Examination methods: microscopy

Observations:

• copper green pigment with a little (?) lead-tin yellow), a blue particle (right side) and a few red and yellow (earth?) particles

• thin grey layer of lead white, charcoal black with a few of red (earth ? or red lead as a drier?)

• chalk ground

Comments:

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Bright green of leaves

Sample location: from isolated leaf-tip in damage top right corner

Sample number: 1963/4

Examination methods: microscopy

Observations:

• yellow glaze

• slightly greenish yellow layer, looking like lead-tin yellow

• black layer consisting of coarse charcoal black particles with a few of red (earth ? or red lead as a drier?)

• chalk ground

Comments:

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Black background to foliage

Sample location: near point of upraised stick of figure top left.

Sample number: 1963/3

Examination methods: microscopy

Observations:

• layer of yellow, brown and red earth pigments with a few particles of black and green

• black layer consisting of coarse charcoal black particles with a few of red (earth ? or red lead as a drier?)

• chalk ground

Comments:

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: paler blue of sky

Sample location: from edge , two inches from top right corner.

Sample number: 1963/2

Examination methods: microscopy

Observations:

• few remaining particles of azurite combined with lead white

• thin grey layer of lead white, charcoal black with a few of red (earth ? or red lead as a drier?)

black layer consisting of coarse charcoal black particles

• white chalk/glue ground

Comments:

  • analysed by Ashok Roy
  • analysed by J. Hargrave
  • analysed by Joyce Plester

20.06.1963 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Samples taken 20.6.1963 during the course of cleaning by J. Hargrave. Re-examined 1986 by Joyce Plester and A Roy. Re-polished (where possible) and photographed 2013.

CDA ID/Inventory Number: UK_NGL_3922

Cross-section number:

Paint description: Blue of sky

Sample location: mid blue from edge of small damage to left of rocky crag.

Sample number: 1963/1

Examination methods: microscopy

Observations:

• pale blue layer – lead white with azurite and a very few red (earth?) particles. In UV-light there also seems to be a particle of red lake in the upper paint layer.

• thin grey layer of lead white, charcoal black with a few of red (earth ? or red lead as a drier?)

black layer consisting of coarse charcoal black particles

• white chalk/glue ground

Comments:

  • analysed by J. Hargrave
  • analysed by Joyce Plester
  • analysed by Ashok Roy

Condition Reports

Date2016

The paint is in reasonably good condition; there is a large loss in the top left corner and scattered losses elsewhere. The flesh is worn, especially in the dark areas.

[Susan Foister, `Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

www.nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

Date26.06.1924

Actual state: good

Conservation History

Date07. 1963 - 10. 1963

26.06.1963: 'Generally in an excellent state of preservation; there are no major losses and very few small one. The flesh is slightly abraded in the half tones. Some paint is missing round the top of the head of the central female figure, and there are a few small losses and scratches at the left hand edge of the dark foliage. The varnish is discoloured and cracked.

Treatment proposed: Remove varnish; retouch where necessary; revarnish.'

[J. Hargrave, M. Levey 1963]

During the cleaning the panel showed signs of warping so the cradle was removed and the back built up with Balsa wood and wax cement. The old varnish and repaint were removed with a mixture of Methylated Spirit and White Spirit. The paint proved to be rather more worn in the flesh than had previously been supposed, and in addition the plant covering the body of the figure at the right bottom corner was found to be a late addition. This was removed. Some of the retouching was done with egg tempera but most of it was carried out in MS2A resin medium. The picture was varnished with MS2A resin containing a small percentage of Stand Oil.

[National Gallery archive 2016]

  • conservation treatment by J. Hargrave
  • conservation treatment by L. Howard

Date07. 1950

  • surface polished with a mastic wax mixture
  • conservation treatment by Smith

Date1892

According to the 1892 Habich sale catalogue (see Provenance), Professor Hauser of Munich had applied a new cradle to the painting: `Das vortrefflich erhaltene Gemälde wurde von Prof. Hauser (München) meisterhaft auf eine neue Holzplatte übertragen.

[Susan Foister, `Lucas Cranach the Elder, Primitive People' published online 2015, from 'The German Paintings before 1800' London, forthcoming.]

www.nationalgallery.org.uk/paintings/research/lucas-cranach-the-elder-primitive-people

Citing from the Cranach Digital Archive

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