Epitaph for Prince Joachim of Anhalt

Epitaph for Prince Joachim of Anhalt

Titles

Epitaph for Prince Joachim of Anhalt

[cda 2013]

Dessau Last Supper

[Ev. Kirchgemeinde St. Johannis und St. Marien 2014]

Dessau Altarpiece of the Last Supper

[Schulze 2004, 186]

Painting on limewood

Medium

Painting on limewood

[Mieth 1993, 28]

The painting depicts the Last Supper, whereby leading representatives of the reformation replace the apostles. Only Judas is shown separated, seated at the side of the table, Christ serves him something to eat. Set apart from the event by the front bench Duke Joachim of Anhalt kneels in the foreground

The painting depicts the Last Supper, whereby leading representatives of the reformation replace the apostles. Only Judas is shown separated, seated at the side of the table, Christ serves him something to eat. Set apart from the event by the front bench Duke Joachim of Anhalt kneels in the foreground wearing sumptuous robes and with his hands in an attitude of prayer. Standing beside a large bowl of water a cupbearer serves cold drinks and offers them to the participants of the dinner party. The signet ring on his left hand suggests, that this may be a self-portrait of Lucas Cranach the Younger. At the back of the stately renaissance room stands a group of five men, that have been identified as members of the Anhalt ducal house. On the right further dishes are handed to a servant through a service hatch.

[Görres, cda 2013]

Attribution
Lucas Cranach the Younger

Attribution

Lucas Cranach the Younger

[Schade 1974, 96]

Production date
1565

Production date

1565

[dated]

Dimensions
Dimensions of support: 257.5 x 209

Dimensions

  • Dimensions of support: 257.5 x 209

  • [Mieth 1993, 28]

Signature / Dating

Artist's insignia bottom left winged serpent with dropped wings, facing left, and dated '1565'

Signature / Dating

  • Artist's insignia bottom left winged serpent with dropped wings, facing left, and dated '1565'

  • [cda 2013]

Owner
Ev. Kirchgemeinde St. Johannis und St. Marien, Dessau
Repository
Ev. Kirchgemeinde St. Johannis und St. Marien, Dessau
Location
Dessau
CDA ID
DE_JD_NONE-JD001
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_JD_NONE-JD001/

Provenance

  • from the church of St. Marien, Dessau
  • castle inventory from 1693: in a room before the large salon near the winding stair: 'In der ersten Cammer darbey 1 große Schilderei des Nachtmahl des Herrn 1 große Schilderei mit dem Crucifix 1 große Schilderei mit dem Ölberg' [LHASA, Dessau, Abt, A 13 b, Nr. 10, Blatt 56][1]
  • since 1992 in the Johanniskirche, Dessau
    [1][Melzer 2005, 57, Fn. 11]
    [cda 2013]

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Weimar 2015 71, 74
EditorWolfgang Holler, Karin Kolb
TitleCranach in Weimar, [Weimar, Schiller-Museum, 3 April - 14 June 2015]
Place of PublicationDresden
Year of Publication2015
Melzer 2015 20
AuthorReinhard Melzer
TitleDie Cranach-Ausstellung im Gotischen Haus in Wörlitz - eine Einführung
Publicationin Kulturstiftung Dessau-Wörlitz, ed., Cranach im Gotischen Haus in Wörlitz, Exhib. Cat. Wörlitz
Place of PublicationMunich
Year of Publication2015
Pages16-21
Noble 2015 293, 295
AuthorBonnie Noble
TitleThe Woman of Babylon. Seduction Reformation-Style
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages290-297
Nurre 2015 261-264 Fig. 4
AuthorAnastasia Nurre
TitleMemorializing Christian Authority. Secular Leadership and Lutheran Ideology in 'Epitaph for Johannes Bugenhagen'
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages256-265
Rebmann 2015 217, 219, 223, 225 1
AuthorRuben Rebmann
TitleDas Geistliche Cabinet im Dessauer Residenzschloss (1665-1750). Eine Cranach-Sammlung der Vorgänger des Fürsten Leopold III. Friedrich Franz von Anhalt Dessau
Publicationin Kulturstiftung Dessau-Wörlitz, ed., Cranach im Gotischen Haus in Wörlitz, Exhib. Cat. Wörlitz
Place of PublicationMunich
Year of Publication2015
Pages217-228
Rhein 2015 49
AuthorStefan Rhein
TitleLucas Cranach der Jüngere und Philipp Melanchthon. Zu den Spuren einer Wittenberger Beziehung
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages42-51
Waterman 2015 285, Fn. 28
AuthorJoshua P. Waterman
TitleThe Artistic Emergence of Lucas Cranach the Younger
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages280-289
Werner 2015 9
AuthorElke Anna Werner
TitleLucas Cranach der Jüngere und die Reformation der Bilder. Zur Einführung
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages8-16
Willig-Stritzke 2015 72, 73, 74, 79, 81, 82
AuthorNadine Willig-Stritzke
Title"Verlasset euch nicht auff Fürsten; sie sind menschen, die konnen ja nicht helffen..." Lucas Cranach der Jüngere und die Fürsten von Anhalt im Kontext der Quellen
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages72-83
Wolf 2015 169, Fn. 6, 171, Fn. 22
AuthorAnja Wolf
TitleDie 'Taufe Christi' von 1556. Einblicke in die Arbeitsweise Lucas Cranachs des Jüngeren
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages168-179
Oexle 2009 53-79
AuthorOtto Gerhard Oexle
TitleDie Memoria der Reformation. Das Dessauer Altarbild Lucas Cranachs des Jüngeren
Publicationin Hans-Joachim Krause, Andreas Ranft, eds., Studien zur mittelalterlichen und frühneuzeitlichen Kunstgeschichte und Geschichte
Place of PublicationStuttgart
Year of Publication2009
Pages53-79
Ermischer 2007 44
AuthorGerhard Ermischer
TitleCranach im Exil - Porträt einer bewegten Epoche
Publicationin Gerhard Ermischer, Andreas Tacke, eds., Cranach im Exil. Aschaffenburg um 1540. Zuflucht, Schatzkammer, Residenz, Exhib. Cat. Aschaffenburg
Place of PublicationRegensburg
Year of Publication2007
Pages13-53
Roch-Lemmer 2007 313-325
AuthorIrene Roch-Lemmer
TitleNeue Forschungen zum Dessauer Abendmahlsbild von Lucas Cranach d. J. (1565). Hans-Joachim Krause zum 25. Oktober 2005
Publicationin Andreas Tacke, ed., Lucas Cranach 1553/2003. Wittenberger Tagungsbeiträge anlässlich des 450. Todesjahres Lucas Cranachs des Älteren
Place of PublicationLeipzig
Year of Publication2007
Pages313-325
Chamonikola 2005 B 27(English version 12]
AuthorKaliopi Chamonikola
TitleLucas Cranach a ceské zeme/ Lucas Cranach and the Czech Lands
Publicationin Kaliopi Chamonikola, ed., Pod znamením okrídleného hada. Lucas Cranach a ceské zeme, Under the winged Serpent, Lucas Cranach and the Czech Lands, Exhib. Prague 2005
Place of PublicationPrague
Year of Publication2005
Pages13-33 (6-15)
Melzer 2005 48, 57 Fn. 11
AuthorReinhard Melzer
TitleCranach in Wörlitz. Das Gotische Haus als frühe Sammlungsstätte altdeutscher Malerei
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, ed., Cranach. Exhib. Cat. Chemnitz
Place of PublicationCologne
Year of Publication2005
Pages44-58
Schulze 2004 186-191
AuthorIngrid Schulze
TitleLucas Cranach d. J. und die protestantische Bildkunst in Sachsen und Thüringen. Frömmigkeit, Theologie, Fürstenreformation
Place of PublicationBucha near Jena
Year of Publication2004
Boettcher 2003 62-64
AuthorSusan R. Boettcher
TitleVon der Trägheit der Memoria. Cranachs Lutheraltarbilder im Zusammenhang der evangelischen Luther-Memoria im späten 16. Jahrhundert
Publicationin Joachim Eibach, Marcus Sandl, eds., Protestantische Identität und Erinnerung. Von der Reformation bis zur Bürgerrechtsbewegung in der DDR
Place of PublicationGöttingen
Year of Publication2003
Pages47-69
Findeisen 2001 171-186
AuthorPeter Findeisen
TitleBildnisse des Fürsten Wolfgang und Joachim von Anhalt Zerbst, Dessau und Köthen
Publicationin, ES THVN IHER VIEL FRAGEN. Kunstgeschichte in Mitteldeutschland. Hans-Joachim Krause gewidmet
SeriesBeiträge zur Denkmalkunde in Sachsen-Anhalt
Volume2
Place of PublicationPetersberg
Year of Publication2001
Pages171-186
Rabenau 1997 2-4 1
AuthorKonrad von Rabenau
TitleBildnisse von Philipp Melanchthon und Fürst Georg von Anhalt auf den Büchern der Reformationszeit
JournalDessauer Kalender
Issue41 (1997)
Year of Publication1997
Pages2-19
Mieth 1993 28-39
AuthorAndreas Mieth
TitleDie Restaurierung der Tafelgemälde
Publicationin Evangelisches Pfarramt St. Johannis und St. Marien, Dessau, ed., Bilder erleben. Tafelbilder Lucas Cranach des Älteren und des Jüngeren laden ein. St. Johanniskirche Dessau
Place of PublicationDessau
Year of Publication1993
Pages28-36
Schade 1993 A 21-27
AuthorWerner Schade
TitleDie drei Gemälde
Publicationin Evangelisches Pfarramt St. Johannis und St. Marien, Dessau, eds., Bilder erleben. Tafelbilder Lucas Cranach des Älteren und des Jüngeren laden ein. St. Johanniskirche Dessau
Place of PublicationDessau
Year of Publication1993
Pages21-27
Schade 1974 95, 96, 390 pl. 250
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Schade 1968 B 70-71
AuthorWerner Schade
TitleDie Epitaphbilder Lucas Cranach d. J.
Publicationin Bozena Steinborn, ed., Ze Studiów nad Sztuka XVI Wieku na Slasku i w Krajach Sasiednich(Materialy z konferencji urzadzonej przez Muzeum Slaskie we Wroclaw 10 i 17 grudnia 1966 roku)
Place of PublicationBreslau
Year of Publication1968
Pages63-76
Thulin 1955 96-109
AuthorOskar Thulin
TitleCranach-Altäre der Reformation
Place of PublicationBerlin
Year of Publication1955
  • Epitaph for Prince Joachim of Anhalt, 1565

Images

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Technical studies

07. 2013Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- dry drawing material; dark chalk

Type/Ductus:

- grid

- relatively detailed underdrawing

- delicate, fine lines

- occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and indicate the essential features; occasional representation of volume with hatching-strokes

Deviations:

- alterations made during the painting process; numerous small changes

INTERPRETATION

Attribution:

- Lucas Cranach the Younger and workshop

Comments:

- executed with reference to a pre-existing design

[Smith, Sandner, Heydenreich revised 2014]

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

1992Technical examination / Scientific analysis

Support

- limewood; 17 vertically aligned boards, with the following widths (reverse, from left to right):

11; 12.5; 10; 11.5; 12.5; 13; 13.5; 11; 9.5; 12.5; 8; 10.5; 13.5; 11.5; 10; 11; 18.5 cm

- two chamfered movable cross-members were inserted into the panel when it was constructed, with the following widths: top: 8.5 (l.), 9.5 (r.) cm; bottom: 9 (l.), 10 (r.) cm

- after the single boards were glue-joined the reverse of the panel was only smoothed in the area near the cross-members

Ground and Imprimatura

The top and bottom edges of the panel were fixed with battens before the application of the ground. A barbe along each horizontal edge confirms this.

Whether the original frame was employed for this purpose can not be ascertained (compare with 'Crucifixion' documentation), as it no longer exists.

The sides of the panel remained unframed until the painting was finished. The ground and paint layers extend to the edge of the panel.

The traditional chalk/glue ground was applied in numerous layers and smoothed.

An isolating layer or a thin, very pale imprimatura toned slightly with ochre was applied after the initial underdrawing stage (?)

Underdrawing

The underdrawing lies directly over the ground.

Two designs for the Dessau Last Supper have survived [Schade 1993 A, 23].

The infrared photographs confirm that a one-to-one preparatory drawing was made. The outlines were transferred to the ground by pouncing through a cartoon with holes (?), after first drawing a grid with a fine, hard point.

It may be assumed that this stage was for the greater part carried out by the workshop and concluded with the application of an isolating layer or a thin, very pale imprimatura toned slightly with ochre.

The underdrawing of the portraits reveal the work of a number of hands:

- loose, confident brush drawing with a black, very diluted, waterbased ink, shadows applied as a wash, probably by Lucas Cranach the Younger (e.g. Portrait of J. Pfeffinger)

- contours confidently drawn with a soft point or charcoal (e. g. Portrait of Lucas Cranach the Younger)

- pen and ink drawing (quill?) with black waterbased ink, shadows indicated with hatching-strokes (e. g. Portrait of J. Foster) workshop production, probably copied without any personal artistic input.

Paint Layers and Gilding

The subsequent paint layers were executed in mixed media, the light areas were applied first and then the dark area.

First an appropriate base tone was applied for the flesh paint, the hair and in part the robes as well as adjoining light areas.

The flesh paint was applied wet-in-wet, blurring the transition between light and shadow, with only a few economic contours, whereby different hands can be detected (see x-radiograph).

The lead white highlights on the portrait of Joachim, Duke of Anhalt and K. Cruciger were applied thickly and exhibit soft transitions (see x-radiograph).

The marbled background architecture of the room, the tiles on the floor and in part the robes were executed employing the same technique.

In contrast areas painted with an opaque to impasto application were executed very meticulously, nevertheless in part delicately modelled contours were carelessly overlapped. (Tiles in the background bordering on B. Bernard's robes).

The white tablecloth with an impasto edging also overlaps the contours of some completed objects so that it appears stereotyped (see x-radiograph).

Final ornamental details on the robes, architecture and the portraits (hair, contours of the eyes and mouths) were added with delicate, impasto brushstrokes.

A conscious decission was made not to carry out any further examinations like cross-sections or pigment and media analysis as these were not strictly necessary to complete the treatment.

Framing

- new frame

[Mieth 1993, 7, 8, 28, 35, 73, 74]

1984Technical examination / Scientific analysis

  • X-radiography
  • created by Hochschule für Bildende Kunst, Dresden

1970Technical examination / Scientific analysis

  • Infrared photography
  • photographed by Institut für Denkmalpflege, Berlin

Condition Reports

Date1992

Summary of the attached pdf (in German):

Condition of the support, ground and paint layers

  • a characteristic network of cracks common for paintings on wooden panel affects the ground, paint layers and in part the varnish and can be observed to varying degrees in correlation with the structure of the wood and the paint layers.

  • some drying cracks in both glazes and medium rich opaque layers

  • some cupping and paint loss as well as tenting

  • the panel responds with relative stability to climatic fluctuations

  • damage caused by water drops and splashes of lime

  • mould affecting in part the ground and the paint layers

  • aktive woodworm

  • coating containing lead white and oil on the reverse [from 1821 and may have been applied after combating active woodworm]

  • splits and losses in the support, in part open joins

  • some scratches

  • numerous discoloured retouches

[Mieth 1992, 9, 10]

Conservation History

Date1992

Summary of the attached pdf (in German)

  • active woodworm treated with nitrogen gas

  • consolidation of wood; impregnation and reconstruction of the corner, after attaching it with dowels application of fill material

  • surface cleaning, no varnish removal

  • removal of overpaint

  • partial adjustment (thinning) of the varnish in the areas where overpaint was removed

  • retouched with watercolours and lean oil/resin paint

  • protective coating

  • new frame constructed to correspond with the other panels

  • a backboard of aluminium and acrylic was attached

[Mieth 1993, 76-107]

Date1951

[retouching and new varnish?]

It may be assumed, that this treatment was carried out before the painting was lent for the Berlin 'Kirchentag' in 1951.

[Mieth 1993, 10]

Date1900

  • losses reworked with tempera and oil glazes, that have dried to thick, tough layers extending over original paint (Treatment about 1900 by Prof. Bernatz ?, compare 'Crucifixion' documentation)

[Mieth 1993, 10]

Date1821

  • isolated exit holes, small losses and mechanical damage filled; retouched with oil glazes that extend slightly over the original (probably a treatment from 1821)

  • dense white preventative (against woodworm) oil coating on the reverse

[Mieth 1993, 10, 28]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Epitaph for Prince Joachim of Anhalt', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_JD_NONE-JD001/ (Accessed {{dateAccessed}})
Entry with no author
'Epitaph for Prince Joachim of Anhalt', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_JD_NONE-JD001/ (Accessed {{dateAccessed}})

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