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Lucas Cranach the Elder - Musée des Beaux-Arts et d'Archéologie Besançon - Eve - Overall

Lucas Cranach the Elder - Musée des Beaux-Arts et d'Archéologie Besançon - Eve - Infrared Images

Lucas Cranach the Elder - Musée des Beaux-Arts et d'Archéologie Besançon - Eve - Detail Images

Connected Works:

Lucas Cranach the Elder - Musée des Beaux-Arts et d'Archéologie Besançon - Adam - Overall

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Painting:

CDA ID / Inventory Number	F_MBAAB_896-1-54b
Persistent Link	https://lucascranach.org/F_MBAAB_896-1-54b
FR (1978) No.	FR-none

Title:

Eve	[Heydenreich 2007 A, 318-321] [Exhib. Cat. London 2007, 18-32]

Attribution:

Lucas Cranach the Elder

[Heydenreich 2007 A, 318-321] [Exhib. Cat. Frankfurt 2007, No. 116] [Exhib. Cat. London 2007, 18-32, Fig. 5]

Dating:

about 1508 - 1510

[Heydenreich 2007 A, 318-321] [Exhib. Cat. Frankfurt 2007, No. 116] [Exhib. Cat. London 2007, 18-32, Fig. 5]

Owner / Repository / Location:

Owner	Musée des Beaux-Arts et d'Archéologie Besançon
Repository	Musée des Beaux-Arts et d'Archéologie Besançon
Location	Besançon

Dimensions:

Dimensions of support: 139 x 53.9 cm [Exhib. Cat. Frankfurt 2007, No. 116] [Exhib. Cat. London 2007, 18-32, Fig. 5]

Support:

Painting on wood, most likely lime wood [Heydenreich, cda 2011]

Signature / Date:

None

Description:

The painting depicts Eve as a full-length, standing nude figure. She is shown frontally and fixes her gaze on the viewer. In her left, raised hand Eve holds an apple. The leaves of the branch attached to it cover her vulva. In her right hand, which is raised, she holds an apple with a bite out of it. Eva wears her long, blond hair loose. The background is dark, but Eve stands on stony ground and part of a tree is visible along the left edge of the painting. A serpent winds itself around the branches of the tree. The tree is completed on the pendant panel - Adam.

Provenance:

- 1607 in the inventory of the gallery of the Granvelle palace in Besancon
[Exhib. Cat. London 2007, 18-32]

Exhibitions:

Frankfurt a. M. 2007, No. 116
Düsseldorf 2017, No. 55

Sources / Publications:

Reference on Page

Catalogue Number

Figure/Plate

Cat. Coburg 2018

under no. 1

Heydenreich 2017 A

Exhib. Cat. Düsseldorf 2017

142

No. 55

Exhib. Cat. Florence 2017

under no. 14

Bonnet 2017

40, 41

Bonnet, Görres 2015

39-41

p. 41

Hinz 2010 B

Heydenreich 2010 A

Exhib. Cat. Frankfurt 2007

360-361

116

p. 361

Heydenreich 2007 C

Exhib. Cat. London 2007

18-32

Fig. 5

Exhib. Cat. Basel 1974

No. 565

Interpretation / History / Discussion:

In the Basel exhibition catalogue from 1974 this pendant pair is still classified as a copy after Cranach.
[Koepplin, Exhib. Cat. Basel 1974, No. 565]

Based on technical and stylistic features Gunnar Heydenreich attributes both panels to Lucas Cranach the Elder and considers them as Cranachs earliest known depiction of the Fall of Man.
[Heydenreich 2007 A, 318-321] [G. Heydenreich, Exhib. Cat. London 2007, 18-32]

In the mean time G. Heydenreich has proved with an extensive technical examination that both panels can without doubt be classified as works by Cranach
[G. Dette, Exhib. Cat. Frankfurt 2007, No. 116]

The specifications with respect to the wood, date and signature in the Frankfurt exhibition catalogue do not refer to the pendant pair from Besan?on.
[Herrschaft, CDA 2011]

Related Works:

Versions:
	DE_BStGS_720 Adam and Eve Alte Pinakothek, Munich painting in Munich once made of two panels like p.e. those in Besancon
	AT_KHM_GG929b The Fall of Man: Eve Kunsthistorisches Museum, Vienna with dark background
	DE_HAUMB_GG27b Eve Herzog Anton Ulrich-Museum, Braunschweig with dark background
	AT_KHM_GG861a The Fall of Man: Eve [recto]; The Virgin as the Mother of Sorrows [verso] Kunsthistorisches Museum, Vienna similar measures

Material / Technique:

Date: 02. 2008
Technical examination / Scientific analysis
Infrared reflectography

Underdrawing
DESCRIPTION

Tools/Materials:
- fluid, black medium and brush

Type/Ductus:
- freehand underdrawing
- thin lines

Function:
- only partially binding for the final painted version; lines delineate contours and describe the essential details and the facial features; no representation of volume

Deviations:
- alterations made during the painting process to clearly define form; smaller and larger changes (e.g. feet, eyes, breast)

INTERPRETATION

Attribution:
- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2012]

photographed by: Gunnar Heydenreich

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Date: 2007
Technical examination / Scientific analysis
Infrared reflectography

Support
'Some joins partly covered with fibres'

Ground and Imprimatura
'lead white based imprimatura, which was applied with a wide brush'

Underdrawing
'made with pointed brush and a black pigment in a liquid medium, evident in the infrared reflectogram'
[Exhib. Cat. London 2007, 18-32]