Adam

Adam

Title

Adam

[http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)

Painting on beech wood

Medium

Painting on beech wood

[Cat. Chicago 2008, 345]

For most of his long career, Lucas Cranach the Elder was court painter to the Elector of Saxony. Although the general placement of Adam and Eve in these paintings reflects the influence of Albrecht Dürer's renowned classicizing treatment of the same subject in paintings and prints, Cranach's slender, undulating figures

For most of his long career, Lucas Cranach the Elder was court painter to the Elector of Saxony. Although the general placement of Adam and Eve in these paintings reflects the influence of Albrecht Dürer's renowned classicizing treatment of the same subject in paintings and prints, Cranach's slender, undulating figures conform to the contemporary courtly ideals of beauty. This pair is one of the finest of the many versions of the subject made by Cranach and his workshop.

[http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)

Production dates
1533 - 1537
about 1535

Production dates

1533 - 1537

[http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)

about 1535

[Friedländer, Rosenberg 1979, No. 197]

Dimensions
Dimensions of support: 107.5 x 36.4 cm (42 5/16 x 14 5/16 in.)

Dimensions

  • Dimensions of support: 107.5 x 36.4 cm (42 5/16 x 14 5/16 in.)

  • Dimensions of the painted surface: 105.7 x 36.4 cm (41 5/8 x 14 5/16 in.)

  • [http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)

Signature / Dating

None

Owner
The Art Institute of Chicago
Repository
The Art Institute of Chicago
Location
Chicago
CDA ID
US_artic_1935-294
FR (1978) Nr.
FR197
Persistent Link
https://lucascranach.org/en/US_artic_1935-294/

Provenance

  • Private collection, Stockholm (according to [Rich 1936, 46])
  • J. Goudstikker, Amsterdam, by 1935 [record of payment to Goudstikker, September 10, 1935, Art Institute Archives]
  • sold to Charles H. Worcester, Chicago, September 1935
  • given to the Art Institute, 1935.
    [http://www.artic.edu/aic/collections/artwork/111718?search_no=8&index=2] (accessed 24.09.2012)
  • Adam, 1533 - 1537

Images

Compare images
  • overall
  • overall

Technical studies

2008Technical examination / Scientific analysis

Support

- beech wood panel composed of two planks with vertical grain joined at 25.2 cm from the left at the bottom edge

- the panel is 1.2 cm thick

- dendrochronological analysis indicates that both boards came from the same tree; for each plank, the youngest growth ring dates from 1532; normally the entire width of the beech plank was used, with only the bark removed; hence, a felling date of 1532 is possible; allowing a minimum of one year for seasoning, the earliest possible use of the panel is 1533 [1]

- on the reverse, the join is covered with a wide band of coarse, matted fibers; the edges of the panel have been rabbeted on the back, forming a channel approximately 5 mm deep on all sides; at the top and bottom, the edges of this channel have been undercut at a slight angle; adze marks are visible on the roughly finished back, which is covered with black pigment, varnish and wax

[1] [Report by Peter Klein, June 28, 1999]

Ground and Imprimatura

- cross-section analysis showed that the panel was prepared with a white chalk ground; there was no clear evidence of a priming layer, both in this painting and 'Eve', a medium-rich isolating layer was detected; the ground and paint layers extend to the edges of the panel at the sides; at the top and bottom edges, approximately 9 mm of wood is uncoated; the raised barbe here may have resulted from a clamping system used to hold the panel during the painting process

Underdrawing

- no obvious underdrawing was detected with infrared reflectography, but faint traces of underdrawing in what appears to be red chalk are evident under magnification [1]

- double contours executed with greyish black paint were noted around the figure; at various points, the flesh paint extends over these lines; in other places, dark paint covers the edges of the figure, suggesting that the contour was selectively reinforced

[1]For this type of underdrawing as characteristic of Cranach see [Billinge et al. 1997, 29]

[Cat. Chicago 2008, 345, 348]

  • examined by The Art Institute of Chicago

Condition Reports

Date2008

  • uncradled

  • a vertical crack at 29 cm from the left at the bottom edge extends 4.5 cm upward

  • beetle damage is evident at the lower left corner and along the left edge

  • abrasion from the frame on both sides has been generously retouched

  • several narrow vertical cracks in the paint layer along the grain at the centre above Adam's head, along the left edge, and at the centre between his feet have been inpainted; additional inpainting is scattered on the sky and the foliage, the top of the hair, to the left of the nose, his right arm, the abdomen, both legs, and his left foot

[Cat. Chicago 2008, 345, 348]

  • examined by The Art Institute of Chicago

Conservation History

Date1989

  • cleaned

[Cat. Chicago 2008, 345, 348]

Date1941

  • cleaned

[Cat. Chicago 2008, 345, 348]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Adam', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/US_artic_1935-294/ (Accessed {{dateAccessed}})
Entry with no author
'Adam', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/US_artic_1935-294/ (Accessed {{dateAccessed}})

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