Virgin and Child with the Saints Catherine and Barbara

Virgin and Child with the Saints Catherine and Barbara

Title

Virgin and Child with the Saints Catherine and Barbara

[Statens Museum for Kunst, revised 2013]

Painting on wood, transferred to canvas

Medium

Painting on wood, transferred to canvas

[Statens Museum for Kunst, revised 2013]

The virgin holding the child in the middle of the painting and flanked by two women (the saints Catherine and Barbara). Two angels fly above the three women. The background of the painting is black/dark brown.

[Statens Museum for Kunst, revised 2013]

Attributions
Lucas Cranach the Elder
Lucas Cranach the Elder (and Workshop)

Attributions

Lucas Cranach the Elder

[Exhib. Cat. Gotha 2015, No. 7] [Statens Museum for Kunst, revised 2013]

Lucas Cranach the Elder (and Workshop)

[Exhib. Cat. - Düsseldorf 2017, 117, No. 16]

Production dates
about 1510-1512
about 1512-1517

Production dates

about 1510-1512

[Exhib. Cat. Düsseldorf 2017, 117, No. 16] [Exhib. Cat. Gotha 2015, No. 7]

about 1512

[Exhib. Cat. Hamburg 2003, 167, No. 4a]

about 1512-1517

[Statens Museum for Kunst, revised 2013]

Dimensions
Dimensions of support: 96.5 x 80.5 cm

Dimensions

  • Dimensions of support: 96.5 x 80.5 cm

  • Dimensions including frame: 111 x 95 cm

  • [Statens Museum for Kunst, revised 2013]

Signature / Dating

None

Inscriptions and Labels

Reverse of the canvas: - at bottom left:
stencil in black paint: '(crown motif) [/] KMS [/]

Inscriptions and Labels

Stamps, Seals, Labels:

  • Reverse of the canvas: - at bottom left:

  • stencil in black paint: '(crown motif) [/] KMS [/] Sp. 731'

  • Reverse of the stretcher:

    • on top member, right:
  • in white chalk: '449'

  • [cda 2013]

Owner
Statens Museum for Kunst, Copenhagen
Repository
Statens Museum for Kunst, Copenhagen
Location
Copenhagen
CDA ID
DK_SMK_KMSsp731
FR (1978) Nr.
FR036
Persistent Link
https://lucascranach.org/en/DK_SMK_KMSsp731/

Provenance

  • 1784: from the Christiansborg Furniture Chamber
    [Statens Museum for Kunst, revised 2013]

Exhibitions

Stockholm 1988
Copenhagen 2002
Hamburg 2003
Gotha, Kassel 2015, No. 7
Düsseldorf 2017, No. 16

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Düsseldorf 2017 117 No. 16
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 102, 103, 105 7 Pl. p. 105
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
Exhib. Cat. Weimar 2015 130
EditorWolfgang Holler, Karin Kolb
TitleCranach in Weimar, [Weimar, Schiller-Museum, 3 April - 14 June 2015]
Place of PublicationDresden
Year of Publication2015
CDA.Bloh 2005 175
AuthorJutta Charlotte von Bloh
TitleKleidung und Waffen in den Fürstenbildnissen der Cranachs
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, eds., Cranach, Exhib. Cat. Chemnitz 2005
Place of PublicationCologne
Year of Publication2005
Pages174-181
Exhib. Cat. Prague 2005 90 (English version 37) under no. 18
EditorObrazárna Pražského hradu, Kaliopi Chamonikola
TitlePod znamením okrídleného hada. Lucas Cranach a ceské zeme. Under the winged Serpent. Lucas Cranach and the Czech Land
Place of PublicationPrague
Year of Publication2005
Exhib. Cat. Hamburg 2003 26, 167 004a Pl. 4a
EditorBucerius Kunst Forum, Werner Schade
TitleLucas Cranach. Glaube, Mythologie und Moderne [Bucerius Kunst Forum, Hamburg]
Place of PublicationOstfildern-Ruit
Year of Publication2003
Exhib. Cat. Copenhagen 2002 32-34, 68 No. 12 Fig. p. 34
AuthorHanne Kolind Poulsen
TitleCranach [Statens Museum for Kunst , Copenhagen]
Place of PublicationCopenhagen
Year of Publication2002
Exhib. Cat. Stockholm 1988 43
EditorNationalmuseum, Stockholm
TitleCranach och den tyska renässancen
Place of PublicationStockholm
Year of Publication1988
Friedländer, Rosenberg 1979 under No. 36
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Friedländer, Rosenberg 1932 18, 35 Fig.
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

Research History / Discussion

DK_KMSsp730_FR036 could acc. to [Friedländer, Rosenberg 1979, No. 36] be the left-wing to "Virgin and Child between the blessed saints Catherine and Barbara" (DK_KMSsp730_FR-none). Arguments in favor of the theory are the two images (almost) the same height and F & R’s presumption of a common provenance (from Gottorp Castle) [however it is not certain that even the "Virgin and Child ..." are from Gottorp]. Arguments against the theory are differences in style, the characters' scale and backgrounds.

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

The fact that both works [DK_SMK_KMSsp730] may originally have been assembled together as part of an altar has provoked a controversial debate amongst scholars: however disregarding the almost identical format of both panels, which have only been together in the Royal collection in Copenhagen since the 18th century, the difference in scale of the figures, their stylistic variance and the divergent backgrounds argue against their common identity. [1] The central panel exhibits strong links to the somewhat larger so-called Princes‘ Altar in Dessau (about 1510), which was presumably created for the Lady Chapel in the church of the Wittenberg Castle and anticipates the composition of the panel in Copenhagen both stylistically and in the choice of motifs as well as in the evolution of the pictorial type representing a half-length figure of the Virgin and saints. [2] The serenity emanated by the painting in Copenhagen has here yielded to a formal solemnity. [3] The Dessau wing panels also depict Duke Johann the Steadfast of Saxony on the left side wearing the same attire as on the panel in Copenhagen, but against a black background and he is accompanied by St Bartholomew. A similarly clear association was established between the central panel in Copenhagen and a depiction of ‘The Virgin and Child with Sts Catharine, Barbara and Dorothea’ (about 1512-1514) [DE_smbGG-Lost_NONE-001] destroyed [lost] during the war. Here single motifs like the pose and position of the Child, how the ring is placed on the finger and the gesture of St Barbara bare more affinity than the painting in Dessau: [4] the style and format, but above all the landscape background, which being untypical for Cranach suggests the hand of an apprentice, caused scholars to speculate that the panel formerly in Berlin may have been the pendant to the donor panel in Copenhagen. [5] Influences from Netherlandish and Italian sources as well as the example of Albrecht Dürer have been discussed with varying degrees of conviction in relation to the origin of the pictorial type of the Virgin. [6] While the facial type of the Virgin corresponds with the common female physiognomy painted by Cranach between 1500 and 1510, as represented among others by the ‘Venus’ in St Petersburg (1509), [7] a greater similarity between the female heads on the wing panel and the saintly figures on the Catharine Altar in Dresden can be observed. [8]

The correspondence between the altarpieces mentioned and the paintings in Copenhagen not only supply insight into their original context but also demonstrate for Cranach’s early production of altarpieces a characteristic exploitation of an established repertoire of motifs, whose prototypes were taken in part from the artist’s graphic works. [10]

[1] Friedländer, Rosenberg 1979, 76, No. 36; Exhib. Cat. Copenhagen 2002, 91, Nos. 12 and 13; Exhib. Cat. Hamburg 2003, 167, Nos. 4 and 4a.

[2] Flechsig 1900, 85f.; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 23-25, No. 7.

[3] Exhib. Cat. Hamburg 2003, 167, No. 4a

[4] Friedländer, Rosenberg 1979, 76, No. 37; Erichsen 1994, 164, Fn. 4; Exhib. Cat. Hamburg 2003, 167, No. 4

[5] Ebenda. A copy of the Berlin painting exists in the Jáchymov (Sankt Joachimsthal), Czech Republic. Erichsen 1994, 157.

[6] Schade 1974, 38-40; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 24.

[7] Exhib. Cat. Hamburg 2003, 167, No. 4a.

[8] Friedländer, Rosenberg 1979, 68f., Nos. 12-15 and S. 76, No. 36

[9] Further panels with the Virgin showing the Legend of St Catherine exist in Dessau (1516) [DE_AGGD_10] and Budapest (um 1516-18) [HU_SMB_133]. Friedländer, Rosenberg 1979, 87, Nos. 85 and 85

[10] Erichsen 1994, 156-161

[Carrasco, Exhib. Cat. Gotha, Kassel 2015, 102, 103, Nos. 6, 7]

Eine mögliche Zusammengehörigkeit der beiden Werke [DK_SMK_KMSsp730] innerhalb eines Altarprogramms wurde in der Forschung kontrovers diskutiert: so sprechen ungeachtet des annähernd gleichen Formates der Täfeln, die erst seit dem 18. Jahrhundert gemeinsam in der Königlichen Sammlung in Kopenhagen verwahrt werden, deren unterschiedlicher Figurenmaßstab, stilistische Abweichungen und die verschiedenartigen Bildgründe gegen eine originäre Verbindung. [1] Das Mittelbild weist enge Anbindung an den etwas großformatigeren sogenannten 'Fürstenaltar' aus Dessau (um 1510) auf, der vermutlich für die Marienkapelle der wittenberger Schlosskirche entstand und die Kopenhagener Tafel kompositorisch, motivisch und stilistisch sowie im Bildtypus der halbfigurigen Gottesmutter mit Heiligen vorwegnimmt. [2] Die heitere Ausstrahlung des Bildes ist dort einem feierlichen Ernst gewichen. [3] Die Dessauer Seitenflügel zeigen neben Herzog Johann den Beständigen von Sachsen auf der linken Seite, der in gleichem Habitus wie in Kopenhagen, hier allerdings vor schwarzem Grund und in Begleitung des Heiligen Bartholomäus erscheint. Eine ähnlich deutliche Verwandtschaft zur Kopenhagener Mitteltafel wurde auch für das kriegszerstörte Bild einer 'Madonna mit Kind und den Heiligen Margareta, Katharina, Barbara und Dorothea' (um 1512-1514) [DE_smbGG-Lost_NONE-001] festgestellt, das wiederum in Einzelmotiven wie der Pose und Wendung des Kindes, dem Anstecken des Ringes und den Gesten der Heiligen Barbara dem erstgenannten Werk noch näher steht als das Bild in Dessau: [4] Stil und Format, vor allem jedoch der Landschaftshintergrund, dessen für Cranach untypische Himmelsgestaltung wohl eine Schülerhand verrät, ließen die Forschung in der ehemaligen Berliner Tafel das Pendant zum Kopenhagener Stifterflügel vermuten. [5] Für den Typus des Madonnenbildes wurde mit unterschiedlicher Überzeugungskraft der Einfluss niederländischer und italienischer Bildkunst sowie das Vorbild Albrecht Dürers diskutiert. [6] Während der Gesichtstypus Mariens der bei Cranach zwischen 1500 und 1510 üblichen weiblichen Physiognomie entspricht, wie sie u. a. in der St. Petersburger 'Venus' (1509) zum ausdruck kommt, [7] wurde für die Frauenköpfe des Seitenflügels eine Verwandtschaft mit den Heiligenfiguren des Dresdner 'Katharinenaltars (1506) beobachtet. [8]

Die Übereinstimmungen zwischen den genannten Altar-Werken [9] und den Kopenhagener Bildern liefern nicht nur einen Eindruck von deren ursprünglichem Zusammenhang, sie demostrieren zugleich exemplarisch die für die frühe Altarproduktion Cranachs charakteristische Verwertung eines etablierten Motivrepertoires, dessen vorlagen sich teilweise auch aus grafischen Arbeiten des Künstlers speisten. [10]

[1] Friedländer, Rosenberg 1979, 76, No. 36; Exhib. Cat. copenhagen 2002, 91, Nos. 12 und 13; Exhib. Cat. Hamburg 2003, 167, Nos. 4 und 4a.

[2] Flechsig 1900, 85f.; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 23-25, No. 7.

[3] Exhib. Cat. Hamburg 2003, 167, No. 4a

[4] Friedländer, Rosenberg 1979, 76, No. 37; Erichsen 1994, 164, Fn. 4; Exhib. Cat. Hamburg 2003, 167, No. 4

[5] Ebenda. eine Kopie des Berliner bildes befindet sich im tschechischen Jáchymov (Sankt Joachimsthal). Erichsen 1994, 157.

[6] Schade 1974, 38-40; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 24.

[7] Exhib. Cat. Hamburg 2003, 167, No. 4a.

[8] Friedländer, Rosenberg 1979, 68f., Nos. 12-15 und S. 76, No. 36

[9] Weitere Madonnentafeln mit einer Darstellung der Katharinenlegende befinden sich in Dessau (1516) [DE_AGGD_10] und Budapest (um 1516-18) [HU_SMB_133]. Friedländer, Rosenberg 1979, 87, Nos. 85 und 85

[10] Erichsen 1994, 156-161

[Carrasco, Exhib. Cat. Gotha, Kassel 2015, 102, 103, Nos. 6, 7]

  • Virgin and Child with the Saints Catherine and Barbara, about 1510-1512

Images

Compare images
  • overall
  • overall
  • overall
  • overall
  • reverse
  • reverse
  • irr
  • irr
  • x_radiograph
  • x_radiograph
  • uv_light
  • uv_light
  • detail
  • detail

Technical studies

Date2017

  • irr
  • photographed by Gunnar Heydenreich

2013Technical examination / Scientific analysis

Support

The painting has been transferred from wood to canvas in the 19th century, probably by J. P. Møller (cf. Henrik Bjerre. 1975 p. 99-124).

The original wooden support of the painting probably consisted of five planks based on x-ray and side light examinations (see the drawing at page 1 in DK_SMK_KMSsp731_FR-NONE_2008-11-25_condition-report_SEM-analysis).

The painting appears to have a wooden support, but on a closer inspection you can see the canvas structure in the surface of the painting.

The width of the planks is from the bottom respectively 19.2 cm, 16.7 cm, 11.0 cm, 44.0 cm and 7.0 cm.

The grains are horizontal, which the damages also indicate in x-ray and IR.

Because of the transfer of the painting from wood to canvas there are no information left of tool marks or fibre material on the back.

It is unknown whether the painting appears in its original format, but the two shields on top seem to be squeezed in the motif. This could indicate that the painting originally was higher.

Ground and Imprimatura

There is no fibre material underneath the ground and there are no marks in the ground.

Underdrawing

The contours of the figures are painted wet in wet with monochrome underdrawings. The underdrawings are especially clear and sharp in the hands and in the faces of the saints.

The underdrawings of Maria's face are finer made than the others. The underdrawings for the angels are more simple and without details in their faces.

The face of Barbara is changed a bit compared to the underdrawings, the nose are longer than the underdrawing.

Paint Layers and Gilding

Oil paint with finely ground pigments and the paint layers are painted thinly.

The folds and shadows are modelled in the underpaint.

The painting is painted from background to foreground.

The black colour of the background consists of two layers of paint. The second layer of black paint is applied after the three figures were painted. The angels on the other hand are painted after the second black layer of background paint were painted, since the wings and flesh paint is on top of the black background colour.

The escutcheons are painted in thick paint layers with a stiff brush that leaves brushstrokes in the surface. The black areas in the left escutcheon seem to be a more bluish black than the black of the background.

The white slip is painted on top of the black background.

The cross sections reveal several layers in the red and blue paint layers.

The blue green colour in the cloak of the Virgin is painted with a broad brush and visible brushstrokes.

The visible brushstrokes are used in the shadows and highlights of the dresses of Katharina and the Virgin to give the illusion of fabric.

All mouths, except the one of the Virgin, are painted as a fine black line.

The contours of Katharina’s face are drawn up with a black line.

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

03.04.2009Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • created by Statens Museum for Kunst, Copenhagen

25.11.2008Scientific analysis

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

SEM analysis

  • analysed by Statens Museum for Kunst, Copenhagen

17.11.2008Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

Underdrawing

DESCRIPTION

Tools/Materials:

- fluid black drawing medium; brush; perhaps occasional lines exectued with a dry drawing material (the Virgin’s face)

Type/Ductus:

- freehand underdrawing

- thin to broader lines; delicate fine lines in the Virgin’s face

Function:

- relatively binding for the final painted version; the lines define the contours of the figures and indicate facial features and details; no representation of volume

Deviations:

- minor adjustments were made during the painting process; changes (e. g. the direction in which the saints and the infant Christ are looking; Christ’s feet).

INTERPRETATION

Attribution:

- workshop Lucas Cranach the Elder

Comments:

- probably with reference to a pre-existing design

[Smith, Sandner, Heydenreich cda 2014]

  • photographed by Statens Museum for Kunst, Copenhagen
  • X-radiography
  • x_radiograph
  • created by Statens Museum for Kunst, Copenhagen
  • UV-light photography
  • uv_light
  • uv_light
  • photographed by Statens Museum for Kunst, Copenhagen

Condition Reports

Date2013

Frame:

The frame is much abraded with old inactive wood worm attacks.

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

Date25.03.2003

  • examined by Henrik Bjerre

Date01. 1966

  • examined by Ole Alkærsig

Date07. 1952

  • examined by S. B.

Date1942

Conservation History

  • conservation treatment by U. H.

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Virgin and Child with the Saints Catherine and Barbara', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DK_SMK_KMSsp731/ (Accessed {{dateAccessed}})
Entry with no author
'Virgin and Child with the Saints Catherine and Barbara', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DK_SMK_KMSsp731/ (Accessed {{dateAccessed}})

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