The Judgement of Paris

Title

[cda 2020]

Painting on wood

Medium

Painting on wood

[Unpublished examination report, G. Heydenreich, 13.05.2020]

The panel depicts the Judgment of Paris, a subject Cranach painted in numerous versions. Three goddesses - Juno (Hera), Minerva (Athena), and Venus (Aphrodite) - are shown in an outdoor setting with a large tree, some bushes, and a promontory with a castle. They are wearing necklaces and their nakedness is concealed only by their gossamer sheer scarves. Paris is represented in armour reclining in a slumber at the bottom left edge of the painting with his head resting on his right hand and his helmet on the ground in the corner. Mercury (Hermes), the messenger of the gods is bending over him, dressed in gold armour, and holding a tall staff. The head of a white horse tethered to the tree can be seen above the bushes beyond.

[cda 2020]

Attribution: Workshop Lucas Cranach the Elder

Attribution

Workshop Lucas Cranach the Elder

[D. Koepplin, catalogue entry, Sotheby’s New York, 11.04.1991, Sale 6158, Lot 187]
[Unpublished examination report, G. Heydenreich, 13.05.2020]

Production dates: about 1518 - 1522
1520 - 1530

Production dates

about 1518 - 1522	[Unpublished examination report, G. Heydenreich, 13.05.2020]
1520 - 1530	[D. Koepplin, catalogue entry, Sotheby’s New York, 11.04.1991, Sale 6158, Lot 187]

Dimensions: Dimensions of support: 61.1 x 39.8 cm

Dimensions

Dimensions of support: 61.1 x 39.8 cm
[Unpublished examination report, G. Heydenreich, 13.05.2020]

Signature / Dating: none

Owner: Private Collection
Repository: Private Collection

CDA ID: PRIVATE_NONE-P452
FR (1978) Nr.: FR-none
Persistent Link: https://lucascranach.org/en/PRIVATE_NONE-P452/

Provenance

1991, Sotheby’s New York, lot 30, 10.01.991
1991, Sotheby’s New York, Sale 6158, lot 187, 11.04.1991
1994, Bruun Rasmussen Auctioneers, lot 37, 17.05.1994
1994, Galerie Neuse, Bremen (Note in D. Koepplin Archive)
Private collection, Arizona, USA
[Unpublished examination report, G. Heydenreich, 13.05.2020]

Research History / Discussion

Two other very similar versions of this subject exist, one now in the Seattle Art Museum [US_SAM_52-38] and the other in a private collection [PRIVATE_NONE-P290]. There are some minor differences between the three works, largely confined to the background. A comparison of these works led Heydenreich to conclude it not improbable that a fourth painting existed, which served as a model for all three surviving versions.

[Unpublished examination report, Heydenreich 13.05.2020]

The Judgement of Paris, about 1518 - 1522

Images

Technical studies

23.05.2019 - 26.07.2019Technical examination / Scientific analysis

Infrared reflectography
X-radiography
UV-light photography
Stereomicroscopy
Instrumental material analysis

Support

Summary of the results of a technical examination carried out on the painting at the Balboa Art conservation Center employing the following methods: stereomicroscopy, infrared reflectography (900-1700nm), UV-examination, x -radiography and XRF-analysis.

- a wooden panel in vertical format with the grain running parallel to the length (height) of the panel

- probably consisting of three, butt-joined planks

- the x-radiograph shows fibres spread along the joins and transversely across the panel beneath the ground layer

- the top edge is bevelled suggesting the panel may have been fitted in an engaged (grooved) frame

Ground and Imprimatura

- a white, calcium-based ground of medium thickness that is visible in areas of paint abrasion and on all four edges of the pictorial plane

- a barbe along all four edges of the panel

- lines incised in the ground layer visible along the edges of the panel

- the left, right, and lower edges have an unprimed boarder measuring c. 0.5 - 1 cm

Underdrawing

- infrared reflectography shows some thin dark lines executed freehand with brush and fluid medium to roughly fix the main contours with sparse elaboration of detail

- additional lines may have been executed employing a dry medium (black chalk?)

- minor deviations visible between the underdrawing and the final painted version (e. g. the positions of heads, arms, legs and feet of the goddesses)

Paint Layers and Gilding

- black demarcation lines located along the barbe and paint located outside of the borders of ground layer are indicators that a temporary, fixed frame was used

- the pigments identified using XFR analysis are consistent with those found on other paintings from the Cranach workshop: lead white, lead tin yellow, azurite, vermilion, earth pigments, bone or ivory black and copper greens

Framing

- gilded, wooden Cassetta-style frame, continuous floral/scrollwork over black toning

[Unpublished examination report, BACC, 23.05-26.07.2019]

examined by Balboa Art Conservation Center, San Diego, California
examined by C. Brooks
examined by A. Miller
examined by B. Garcia

Condition Reports

Date26.07.2019

Summary of examination report:

the painting is in an unstable structural condition

Support:

thinned and cradled
some damage to the panel is visible that was probably caused during the thinning process and the cradling

Paint layers:

stresses from the cradle have caused tenting and cracking, mainly in the fills and retouching but also in areas of original paint
areas of abrasion and other mechanical damage have been retouched

[Unpublished examination report, BACC, 23.05-26.07.2019]

examined by Balboa Art Conservation Center, San Diego, California
examined by C. Brooks
examined by A. Miller
examined by B. Garcia

Versions

Citing from the Cranach Digital Archive

Entry with author: <author's name>, 'The Judgement of Paris', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P452/ (Accessed {{dateAccessed}})
Entry with no author: 'The Judgement of Paris', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P452/ (Accessed {{dateAccessed}})

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