Portrait of Johannes Cuspinian

Portrait of Johannes Cuspinian

Titles

Portrait of Johannes Cuspinian

-

The Wedding Portrait of Dr. Johannes Cuspinian and Anna Cuspinian-Putsch

[Koepplin, Cat. Winterthur 2003]

Painting on spruce (Picea sp.)

Half-length Portrait of the historiographer Dr. Johannes Cuspinian (actually called Spiessheimer)

Part of a diptych (Pendant piece to the portrait of Anna Cuspinian)

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[Koepplin 1973]
[Friedländer, Rosenberg 1979, 66, no. 6]

Production dates
1502
about 1502-1503

Production dates

1502

[Koepplin 2003, 127]

about 1502-1503

[Friedländer, Rosenberg 1978, 66, no. 6] [Exhib. Cat. Kronach 1994, 298]

Dimensions
Dimensions of support: 60.3 x 45.5 x 0.45-0.55 cm (almost original size)

Dimensions

  • Dimensions of support: 60.3 x 45.5 x 0.45-0.55 cm (almost original size)

Signature / Dating
None
Inscriptions and Labels
Fragmentary painted remains of the combined coat of arms of the Spiessheimer (latinized Cuspinianus) and Putsch families on the reverse …

Inscriptions and Labels

Inscriptions, Badges:

  • Fragmentary painted remains of the combined coat of arms of the Spiessheimer (latinized Cuspinianus) and Putsch families on the reverse of the panel

Stamps, Seals, Labels:

  • The reverse of the panel is branded with the insignia 'CR' (Carlus Rex) on the bottom right, above which there is a crown (it is identical to the markings on the reverse of the Portrait of Anna Cuspinian)
Owner
Sammlung Oskar Reinhart, Winterthur
Repository
Sammlung Oskar Reinhart, Winterthur
Location
Winterthur
CDA ID
CH_SORW_1925-1b
FR (1978) Nr.
FR006
Persistent Link
https://lucascranach.org/en/CH_SORW_1925-1b/

Provenance

  • King Charles I of England
  • Locker-Lampson Family, England
  • Baron of Sandys, England
  • art market A. -G., Luzern, Julius Böhler gall.
  • acquired by Reinhart in 1925

Exhibitions

Bern 1939-1940, no. 62-63, plate III
Zurich 1940-1941, no. 39-40, plates XI-XII
Winterthur 1955, no. 42-43, plate V.

Literature

Reference on page Catalogue Number Figure/Plate
Price 2017 16
AuthorDavid H. Price
TitleLucas Cranach e la Riforma
Publicationin Francesca de Luca, Giovanni Maria Fara, eds., I volti della Riforma. Lutero e Cranach nelle collezioni medicee , Exhib. Cat. Florence, 2017
Place of PublicationFlorence, Milan
Year of Publication2017
Pages12-27
Bonnet, Görres 2015 17-19 3 p. 18
AuthorAnne-Marie Bonnet, Daniel Görres
TitleLucas Cranach d. Ä. - Maler der Deutschen Renaissance
Place of PublicationMunich
Year of Publication2015
Exhib. Cat. Gotha, Kassel 2015 226
EditorJulia Carrasco, Justus Lange, Benjamin D. Spira, Timo Trümper, Stiftung Schloss Friedenstein, Gotha
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 10
EditorWolfgang Holler, Karin Kolb
TitleCranach in Weimar, [Weimar, Schiller-Museum, 3 April - 14 June 2015]
Place of PublicationDresden
Year of Publication2015
Exhib. Cat. Vienna 2011 113 Fig. 1a
EditorChristof Metzger, Sabine Haag, Karl Schütz
TitleDürer, Cranach, Holbein. Die Entdeckung des Menschen das deutsche Porträt um 1500 [Kunsthistorisches Museum, Vienna, 31 May 2011 - 4 Sept. 2011, Kunsthalle der Hypo-Kulturstiftung Munich, 16 Sept.-15 Jan. 2012]
Place of PublicationMunich
Year of Publication2011
Bonnet, Kopp-Schmidt, Görres 2010 133-135 3
AuthorAnne-Marie Bonnet, Gabriele Kopp-Schmidt, Daniel Görres
TitleDie Malerei der deutschen Renaissance
Place of PublicationMunich
Year of Publication2010
Borchert 2010 27
AuthorTill-Holger Borchert
TitleCranach der Ältere in den Niederlanden
Publicationin Guido Messling, ed., Die Welt des Lucas Cranach. Ein Künstler im Zeitalter von Dürer, Tizian und Metsys, Exhib. Cat. Brussels
Place of PublicationBrussels
Year of Publication2010
Pages26-29
Borggrefe 2010 69, 70 Fig. 3, p. 68
AuthorHeiner Borggrefe
TitleLucas Cranach vs. Tiziano. Il ritratto nell'ambito della politica europea; Lucas Cranach vs. Titian. Portraiture and European Politics
Publicationin Anna Coliva, Bernhard Aikema, eds., Cranach l'altro rinascimento, a different Renaissance, Exhib. Cat. Rome
Place of PublicationMilan
Year of Publication2010
Pages62 - 73
Martin 2010 50
AuthorAndrew John Martin
TitleLucas Cranach et l'arte delle corti del Nord; Lucas Cranach and the Art of the Northern Courts
Publicationin Anna Coliva, Bernhard Aikema, eds., Cranach l¿altro rinascimento, a different Renaissance, Exhib. Cat. Rome
Place of PublicationMilan
Year of Publication2010
Pages48 - 61
Brinkmann 2007 18
AuthorBodo Brinkmann
TitleDas Lächeln der Madonna. Lucas Cranach und die Folgen
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. Frankfurt
Place of PublicationOstfildern
Year of Publication2007
Pages17-27
Evans 2007 50, 51 1
AuthorMark Evans
Title"Die Italiener, sonst so ruhmsüchtig, bieten Dir die Hand": Lucas Cranach und die Kunst des Humanismus
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, Exhib. Cat. Frankfurt
Place of PublicationOstfildern
Year of Publication2007
Pages49-61
Heydenreich 2007 A 39, 47, 52, 55, 56, 86, 87, 97, 102, 115, 140, 149, 178, 185, 193, 196, 200, 221, 227,309
AuthorGunnar Heydenreich
TitleLucas Cranach the Elder
Place of PublicationAmsterdam
Year of Publication2007
Link https://lucascranach.org/application/files/6116/2097/3099/Heydenreich_2007_Lucas_Cranach_the_Elder.pdf
Chamonikola 2005 B 23 (English version 10)
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)
Kotkova 2005 A 10 (English version 4)
AuthorOlga Kotková
TitleLucas Cranach. Vývesní stít staronemecké malby/ Lucas Cranach. The signboard of Old German Painting
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
Pages8-12 (4-5)
Marx 2005 107
AuthorHarald Marx
TitleDresden als Cranach-Palast und der 'moderne' Cranach
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, ed., Cranach. Exhib. Cat. Chemnitz
Place of PublicationCologne
Year of Publication2005
Pages88-111
Cat. Winterthur 2003 127-133
AuthorDieter Koepplin
EditorMariantonia Reinhard-Felice
TitleSammlung Oskar Reinhart 'Am Römerholz' Winterthur, Gesamtkatalog
Place of PublicationBasel
Year of Publication2003
Exhib. Cat. Hamburg 2003 166
EditorBucerius Kunst Forum, Werner Schade
TitleLucas Cranach. Glaube, Mythologie und Moderne [Bucerius Kunst Forum, Hamburg]
Place of PublicationOstfildern-Ruit
Year of Publication2003
Robert 2003 107
AuthorJörg Robert
TitleDie Wahrheit hinter dem Schleier. Lucas Cranachs heidnische Götter und die humanistische Mythenallegorese.
Publicationin Heiz Spielmann, Werner Schade, eds., Lucas Cranach Glaube Mythologie und Maderne , Exhib. Cat. Hamburg 2003
Place of PublicationOstfildern-Ruit
Year of Publication2003
Pages102-115
Schade 2003 14, 21
AuthorWerner Schade
TitleBildhaftigkeit bei Cranach
Publicationin Heiz Spielmann, Werner Schade, eds., Lucas Cranach Glaube Mythologie und Maderne , Exhib. Cat. Hamburg 2003
Place of PublicationOstfildern-Ruit
Year of Publication2003
Pages12-21
Heiser 2002
AuthorSabine Heiser
TitleDas Frühwerk Lucas Cranachs des Älteren. Wien um 1500 - Dresden um 1900
SeriesNeue Forschungen zur Deutschen Kunst
Volume6
Place of PublicationBerlin
Year of Publication2002
Warnke 1999 157, 382
AuthorMartin Warnke
TitleSpätmittelalter und Frühe Neuzeit 1400-1750
SeriesGeschichte der deutschen Kunst
Volume2
Place of PublicationMunich
Year of Publication1999
Exhib. Cat. Eisenach 1998 122 No. 14.3 Fig. 14.3
EditorWartburg-Stiftung, Eisenach, Fachhochschule , Ingo Sandner
TitleUnsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen. Ausstellungskatalog und Tagungsband Katalogteil 1; 2: Werkstatt und Schüler Cranachs; 3: Süddeutsche Meister; 4: Albrecht Dürer und sein Kreis; 5: Rheinische Meister
Place of PublicationRegensburg
Year of Publication1998
Pages229-240
Heydenreich 1998 A 182, 197
AuthorGunnar Heydenreich
TitleHerstellung, Grundierung und Rahmung der Holzbildträger in den Werkstätten Lucas Cranachs d.Ä.
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages181-200
Sandner 1998 B 83
AuthorIngo Sandner
TitleCranach als Zeichner auf dem Malgrund
Publicationin Ingo Sandner, Wartburg-Stiftung Eisenach and Fachhochschule Köln, eds., Unsichtbare Meisterzeichnungen auf dem Malgrund. Cranach und seine Zeitgenossen, Exhib. Cat. Eisenach
Place of PublicationRegensburg
Year of Publication1998
Pages83-95
Cat. Nuremberg 1997 124
AuthorKurt Löcher
TitleDie Gemälde des 16. Jahrhunderts. Germanisches Nationalmuseum Nürnberg
Place of PublicationOstfildern-Ruit
Year of Publication1997
Heydenreich 1997 9
AuthorGunnar Heydenreich
TitleDas Bildnis einer jungen Dame. Eine Vorlage für die Darstellung der hl. Margarete auf dem Dresdner Katharinenaltar (1506) von Lucas Cranach d. Ä.?
JournalMonatsanzeiger des Germanischen Nationalmuseums Nürnberg
Issue195/6
Year of Publication1997
Pages7-10
Marx 1997 18
AuthorHarald Marx
TitleCranach und Dürer. Zur Bildnisfrage bei Cranachs Katharinenaltar von 1506
JournalDresdener Kunstblätter
Issue41
Year of Publication1997
Pages11-24
Exhib. Cat. Kronach 1994 298 118
EditorClaus Grimm, Johannes Erichsen, Evamaria Brockhoff
TitleLucas Cranach. Ein Maler-Unternehmer aus Franken [Festung Rosenberg, Kronach 17.05 - 21.08.1994; Museum der Bildenden Künste, Leipzig 07.09 - 06.11.1994]
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationAugsburg, Coburg
Year of Publication1994
Rebel 1994 131, 133 Fig. A72
AuthorErnst Rebel
TitleLucas Cranach Porträtkunst. Personendarstellungen zwischen Vitalität und Formel
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds.,Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationCoburg, Augsburg
Year of Publication1994
Pages131-138
Stievermann 1994 66
AuthorDieter Stievermann
TitleLucas Cranach und der Kursächsische Hof
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhoff, eds., Lucas Cranach. Ein Maler-Unternehmer aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26
Place of PublicationAugsburg, Coburg
Year of Publication1994
Pages66-77
Frehner 1993 18-20
AuthorChristina Frehner, Matthias Frehner
EditorSchweizerisches Institut für Kunstwissenschaft SIK
TitleSammlung Oskar Reinhart «Am Römerholz», Winterthur
Place of PublicationZurich
Year of Publication1993
Hinz 1993 9-11
AuthorBerthold Hinz
TitleLucas Cranach d. Ä.
Place of PublicationReinbek near Hamburg
Year of Publication1993
Wood 1993 47, 73ff.
AuthorChristopher S. Wood
TitleAlbrecht Altdorfer and the Origins of Landscape
Place of PublicationLondon
Year of Publication1993
Schneider 1992 82-87
AuthorNorbert Schneider
TitlePorträtmalerei. Hauptwerke europäischer Bildniskunst 1420-1670
Place of PublicationCologne
Year of Publication1992
Silver 1983
AuthorLarry A. Silver
TitleForest Primeval. Albrecht Altdorfer and the German Wilderness Landscape
JournalSimiolus
Issue13
Year of Publication1983
Pages5-43
Friedländer, Rosenberg 1979 67 No. 6 Fig. 6
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Silver, Koepplin 1976
AuthorLarry A. Silver, Dieter Koepplin
TitleCranachs Ehebildnis des Johannes Cuspinian von 1502
JournalThe Art Bulletin
Issue58
Year of Publication1976
Pages290-292
Cat. Winterthur 1975 37, 329, 330
AuthorMichael Stättler, Eduard Hüttinger
EditorRudolf Koella
TitleDie Sammlung Oskar Reinhart am Römerholz in Winterthur. Bilder, Zeichnungen, Plastiken
Place of PublicationZurich
Year of Publication1975
Exhib. Cat. Basel 1974/1976 19, 81, 121, 130, 131, 142, 160-168 Fig. 55
AuthorDieter Koepplin, Tilman Falk
TitleLukas Cranach. Gemälde, Zeichnungen und Druckgraphik
Volume1, 2
Place of PublicationBasel, Stuttgart
Year of Publication1974
Link http://nbn-resolving.de/urn:nbn:de:bsz:16-diglit-104522
Schade 1974 15, 17-18
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Koepplin 1973 A
AuthorDieter Koepplin
TitleCranachs Ehebildnis des Johannes Cuspinian von 1502. Seine christlich-humanistische Bedeutung
Place of PublicationDüsseldorf
Year of Publication1973
Link http://digi.ub.uni-heidelberg.de/diglit/koepplin1973
Koepplin 1973 B 70-71
AuthorDieter Koepplin
TitleHumanistische Tendenzen in Cranachs Frühwerk
Publicationin Referate des Coloquiums, Staatliche Lutherhalle Wittenberg
Place of PublicationWittenberg
Year of Publication1973
Pages68-71
Rosenberg 1969 33f.
AuthorJakob Rosenberg
TitleLucas Cranach the Elder. A Critical Appreciation
JournalRecord of the Art Museum, Princeton University
Issue28, 1
Year of Publication1969
Pages27-53
Benesch 1966 64-67
AuthorOtto Benesch
TitleDie deutsche Malerei. Von Dürer bis Holbein
Place of PublicationGenf
Year of Publication1966
Grote 1965 166
AuthorLudwig Grote
TitleDürer Studien
JournalZeitschrift des deutschen Vereins für Kunstwissenschaft
Issue19
Year of Publication1965
Pages151-169
Stange 1964 58
AuthorAlfred Stange
TitleMalerei der Donauschule
Place of PublicationMunich
Year of Publication1964
Ruhmer 1963 86
AuthorEberhard Ruhmer
TitleCranach
Place of PublicationCologne
Year of Publication1963
Ankwicz Kleehoven 1959 30-34
AuthorHans Ankwicz Kleehoven
TitleDer Wiener Humanist Johannes Cuspinian, Gelehrter und Diplomat zur Zeit Kaiser Maximilians I
Place of PublicationGraz, Cologne
Year of Publication1959
271
Authorn. a.
TitleCranachs Cuspinian-Bildnisse in der Sammlung Oskar Reinhart
JournalWinterthurer Tagesblatt
Place of PublicationWinterthur
Issue78
Year of Publication1955
Pages271
Buchner 1953
AuthorErnst Buchner
TitleDas deutsche Bildnis der Spätgotik und der frühen Dürerzeit
Place of PublicationBerlin
Year of Publication1953
Lüdecke 1953 B 28-30, 83
AuthorHeinz Lüdecke
TitleLucas Cranach der Ältere. Der Künstler und seine Zeit
Place of PublicationBerlin
Year of Publication1953
Cat. Winterthur 1939/1940 18-20
AuthorChristina Frehner, Matthias Frehner
TitleSammlung Oskar Reinhart 'Am Römerholz' Winterthur
Place of PublicationBern
Year of Publication1940
Pinder 1939/1940
AuthorWilhelm Pinder
TitleDie Romantik in der deutschen Kunst um 1500
Publicationin Das Werk des Künstlers
Volume1
Place of Publication[n. a.]
Year of Publication1940
Pages3-41
Friedländer, Rosenberg 1932 6, 7
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
Ankwicz Kleehoven 1927
AuthorHans Ankwicz Kleehoven
TitleCranachs Bildnisse des Dr. Cuspinian (gest. 1529) und seiner Frau (Anna geb. Putsch, gest. 1513)
JournalJahrbuch der Preußischen Kunstsammlungen
Issue48
Year of Publication1927
Pages230-234
Friedländer 1926
AuthorMax J. Friedländer
TitleZwei Bildnisse von L. Cranach
JournalKunst und Künstler
Issue24
Year of Publication1926
Link http://digi.ub.uni-heidelberg.de/diglit/kk1926/0407
Pages380-383

Description/ Interpretation/ Comments

This panel and its pendant piece (Anna Cuspinian) can be considered together as a single work, which was probably commissioned as a wedding portrait. The sitter is Johannes Cuspinian, a humanist born in Franken. In 1492, attracted by the intellectual circles, he moved to Vienna. Here he met his future wife Anna Putsch, the daughter of the royal treasurer Ulrich Putsch and depicted in the pendant piece. The continuous landscape into which the sitters have been placed is only divided by the frame and thus supports the theory that both portraits were conceived as a unit. The original frame was probably hinged so that it could be closed or propped upright and did not necessarily hang on the wall. Various elements subtly convey both Christian and humanistic symbolic meaning, some alluding to love and wedlock. 'In den Worten von Ernst Buchner 'Der frühlingshafte Zauber eines neuen Weltzeitalters liegt über den Tafeln.' (In the words of Ernst Buchner 'A spring magic of a new age envelopes these panels.')

[Koepplin 2003, 133]

Description in [Friedlander, Rosenberg 1978, 66-67]; [Koepplin 1973]

  • Portrait of Johannes Cuspinian, 1502

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Technical studies

29.03.1998Technical examination / Scientific analysis

  • Identification of wood species / Dendrochronology

Support

Identification of wood species; Microscopy of cross-section:

Result: Species: Spruce (Picea sp.)

Sample taken by Heydenreich 1995

[Letter in the archive, Oskar Reinhart Collection 'am Römerholz', Winterthur]

- Old catalogue entry by Frehner: Limewood

  • analysed by Peter Klein

06.09.1995Technical examination / Scientific analysis

  • X-radiography
  • Identification of wood species / Dendrochronology
  • Instrumental material analysis
  • Micro-sampling / cross-sections
  • Stereomicroscopy
  • Infrared reflectography
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Support

The support consists of one broad tangentially cut pinewood plank (60.3 x 45.4 cm; a ratio of c. 4:3) with the grain running vertically. A knot close to the bottom edge, left of the centre, has been preserved. It may be concluded from the rings visible in the x-radiograph that both panels of the diptych are from the same plank. The top edge of the panel depicting Anna Cuspinian can be matched with the bottom edge of the panel depicting Johannes. In the area to the left of his head attire a local application of fibres (flax tow) is visible in the x-radiography. The reverse of the panel has been smoothed with a plane. The edge of the panel has been slightly bevelled/chamfered on the reverse along all sides. The left side of the panel may have been cropped by 2-3 mm.

Ground and Imprimatura

The painting has a white ground. It appears to be a glue/chalk ground (EDX analysis of a sample from the Portrait of Anna Cuspinian showed the presence of calcium). In the x-radiograph light scratches are visible to the left of the head that may have occurred when the panel was sanded down. A burr created by the ground is present on all four sides of the panel about 0.5 cm from the edge (on the left 0.3-0.2 cm). Particles of wood are attached to the bare wood along the burr. The area to which ground was applied measures 59.1 x 44.5-44.8 cm. There are no incised lines visible along the edge. The burr is covered with a layer of black paint. There is a very thin white ground on the reverse.

A pigmented imprimatur cannot be identified.

Underdrawing

Black fluid drawing medium, probably applied with a brush. Visible with the naked eye in amongst others the area of the upper lip. Lines have partially separated into single islands of colour, possibly resulting from a water-based ink and the repellent action of an oily isolating layer.

[ Infrared reflectogram (Konrad, Berlin)]

Paint Layers and Gilding

Gilding:

The stars and rings were created with gold coloured metal leaf, which appears to be gold leaf. The rays emanating from the stars were created by applying blue pigment to the metal leaf and then extended this with yellow paint.

Paint Layers:

The initial layer of the flesh paint is a pinkish dead colouring. It is a rather flat application predominantly in the vertical direction. The subsequent modelling of the physiognomy was carried out with coloured glazes and lighter admixtures with lead white. While opaque mixtures of red and white were employed for the pink tones, brown tones were rather transparent. Small amounts of blue pigment were identified in the areas of shadow.

In the x-radiograph the face appears to be executed with a degree of fluidity and exhibits a relatively weak absorption profile (an apparent profile, which is created by the varying x-ray absorption subject to the pigments and the layer thickness). The forehead, cheekbone and nose are emphasized with highlights to clarify the facial features and lighting. The eyeballs are painted bluish white; the iris blue and the pupils are black without reflections. The modelling beneath the eye is reddish in tone, while the eyelid is painted in brown to black shadow. The lips are described in pink paint and a brown line separates the upper from the lower.

The sky was initially painted with a violet to grey admixture (identified as fluorite and lead white (EDX) in the portrait of Anna Cuspinian. This grey underpainting was lightened to white along the horizon.

The sitter's black brocade robe contains azurite pigment particles (stereomicroscopic examination of the paint surface). In the lighter areas of the robe red lake pigments also appear to be present alongside the azurite.

The head attire seems to be underpainted in with an opaque red paint, while the subsequent modelling is carried out with a red glaze applied in various thicknesses- in part with the addition of black.

The book was under painted with bright red paint, the edge of which was removed by the application of a grey glaze. The pattern is partially scratched into the paint. It seems that Cranach pressed his finger into the wet paint to create the impression of bark on the tree trunk (background, left).

[see 1995 CA10 (Dr Gunnar Heydenreich)]

  • written by Gunnar Heydenreich

1995 - Technical examination / Scientific analysis

  • Micro-sampling / cross-sections

Microscopy of paint cross-section; incident light, ultraviolet light:

Sample list: 86

Cross-section number: EP 184

Brief description of paint: white paint, painting of a coat of arms

Location: Reverse, white paint

Incident Light microscopy: yes

Incident light microscopy_photo: slide

Ultraviolet light: yes

Ultraviolet light microscopy_photo: no

EDX: no

Observations:

2. very thin white layer - paint layer

1. thin white layer - ground

0. wood

Comment: white paint over a thin ground on wood

[see 06.09.1995 CA10 (Dr Gunnar Heydenreich)]

  • written by Gunnar Heydenreich
  • Infrared reflectography
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Underdrawing

DESCRIPTION

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- freehand underdrawing

- thin lines

Function:

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

Deviations:

- minor alterations made during the painting process to clearly define form

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2013]

  • X-radiography
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Condition Reports

Date2003 -

Catalogue entry

"Das Bild befindet sich in einem guten Zustand. Die Holztafel ist etwas gewölbt. Inkarnat und Himmel sind etwas stark gereinigt. Einige, zum Teil verfärbte Retouchen im Himmel und im Mantel"

[Koepplin 2003, 127]

Date1995

The painting is in a stable condition. In the past the support was damaged and reconstructed along the bottom and top left edge (top c. 18.5 x 2.5 cm; below c. 7 x 1 cm). The panel is slightly warped and partially weakened by woodworm. On the bottom edge there is a crack. The paint layers are damaged in the area of the fur collar and brocade coat. There are drying cracks in the area of the head attire.

  • written by Gunnar Heydenreich

Conservation History

Date1969

Documentation of restoration from 1969

Dr. Paolo Cadorin, Basel

Treatment Report:

'A) Small blisters in the paint layer were reduced, particularly in the central part of the image.

B) Consolidation of the complete paint layer

C) Elimination of disturbing retouches, which had darkened.

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by Paolo Cadorin

Date1968

Documentation of restoration from 1968

W. Geissmann, Zurich

Treatment Report:

Frame: old coatings removed and replaced by new gilding

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by W Geissmann

Date1925

  • Paint cross-sections/Scientific examination:

Paint Layers and Gilding

Sample list: 86

Cross-section number: EP 184

Brief description of paint: white paint, painting of a coat of arms

Location: Reverse, whit paint

Incident Light microscopy: yes

Incident light microscopy_photo: slide

Ultraviolet light: yes

Ultraviolet light microscopy_photo: no

EDX: no

Observations:

1. very thin white layer - paint layer

2. thin white layer - ground

3. wood

Comment: white paint over a thin ground on wood

Documentation of restoration from c. 1925

Kinkelin, Munich

'According to the present owner the paintings were restored in Munich (by Kinkelin) shortly after their appearance on the art market. Some overpaint was removed during this intervention.'

[Koepplin 1973, 66]

  • conservation treatment by Kinkelin

Documentation of restoration from 19??

Paul Pfister

Treatment Report:

,Construction of two climatically controlled display cases, surface cleaning, local application of a dilute solution of dammar varnish to areas where the varnish had sunk.'

[Archive, Oskar Reinhart Collection 'am Römerholz', Winterthur, revised 2011]

  • conservation treatment by Paul Pfister

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Portrait of Johannes Cuspinian', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/CH_SORW_1925-1b/ (Accessed {{dateAccessed}})
Entry with no author
'Portrait of Johannes Cuspinian', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/CH_SORW_1925-1b/ (Accessed {{dateAccessed}})

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