Johann the Steadfast. Elector of Saxony (1486-1532)

Johann the Steadfast. Elector of Saxony (1486-1532)

Title

Johann the Steadfast. Elector of Saxony (1486-1532)

[cda 2017]

Painting on beech wood

Medium

Painting on beech wood

[Brigitte Reineke, DHM, 2015/2016]

Portrait head facing left against a blue background. The sitter is wearing a beret and a fur cloak.

[Brigitte Reineke, DHM, 2015/2016]

Attribution
Workshop Lucas Cranach the Elder

Attribution

Workshop Lucas Cranach the Elder

[Deutsches Historisches Museum, revised 2016]

Production date
about 1532

Production date

about 1532

[Deutsches Historisches Museum, revised 2016] (Results of dendrochronological analysis by Prof. Dr. Peter Klein, UHH, Zentrum Holzwirtschaft, 06.10.2015)

Dimensions
Dimensions of support: 36.3 x 23.7 x 0.4 cm (thinned, cradled)

Dimensions

  • Dimensions of support: 36.3 x 23.7 x 0.4 cm (thinned, cradled)

  • Dimensions of the painted surface: 21.2 x 22.5-23.0 cm/Paper: two pieces:

  • left: 14.5 x 11.5 cm (does not extend to the bottom edge), right: 13 x 12 cm

  • Dimensions including frame: 45.6 x 32.5 x 5.5 cm (glazed)

  • [Deutsche Historisches Museum, revised 2016]

Signature / Dating

Artist's insignia, at the right beside the hair: winged serpent; in pale yellow paint

Signature / Dating

  • Artist's insignia, at the right beside the hair: winged serpent; in pale yellow paint

  • [Brigitte Reineke, DHM, 2015/2016]

Inscriptions and Labels
  • lower half of the panel, a sheet of paper with two pages from a book: Written in verse the …

Inscriptions and Labels

Inscriptions, Badges:

    • lower half of the panel, a sheet of paper with two pages from a book:
  • Written in verse the two columns record the sitter's dynastic legitimation, praise his absolute will for reformation and underlines his loyal relationship with the emperor. The text is identical to that on DE_KSW_G8 (see also portraits in the Klassik Stiftung Weimar Museen and Budapest)

  • [Brigitte Reineke, DHM, 2015/2016]

Stamps, Seals, Labels:

  • Reverse of the cradle:

  • '889(5/6?) 6'

  • [Brigitte Reineke, DHM, 2015/2016]

Owner
Stiftung Deutsches Historisches Museum, Berlin
Repository
Stiftung Deutsches Historisches Museum, Berlin
Location
Berlin
CDA ID
DE_DHM_Gm95-56
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_DHM_Gm95-56/

Provenance

  • 1995 purchased on the art market
    [Brigitte Reineke, DHM, 2015/2016]

Exhibitions

Bonn 2000, No. 225
Berlin 2012
Minneapolis 2016, No. 44

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Florence 2017 76 under no. 7
EditorFrancesca de Luca, Giovanni Maria Fara
Title I volti della Riforma. Lutero e Cranach nelle collezioni medicee [Uffizi, Florence]
Place of PublicationFlorence, Milan
Year of Publication2017
Exhib. Cat. Minneapolis 2016
EditorStiftung Deutsches Historisches Museum, Berlin, Stiftung Luthergedenkstätten in Sachsen-Anhalt, Stiftung Schloss Friedenstein, Gotha, The Morgan Library & Museum, Minneapolis Institute of Arts
TitleMartin Luther. Schätze der Reformation [Minneapolis Institute of Art, 10.2016-01.2017, Minneapolis, Minnesota; The Morgan Library & Museum, 10.2016-01.2017, New York; Pitts Theology Library der Emory University, 10.2016-01.2017, Atlanta, Georgia]
Place of PublicationDresden
Year of Publication2016
Exhib. Cat. Berlin 2012 16
EditorStiftung Deutsches Historisches Museum, Berlin
TitleIm Atelier der Geschichte. Gemälde bis 1914 aus der Sammlung des Deutschen Historischen Museums [Deutsches Historisches Museum, Berlin, 25 Octr 2012 - 21 April 2013]
Place of PublicationDresden
Year of Publication2012
Exhib. Cat. Bonn, Vienna 2000 225
EditorAusstellungshalle der Bundesrepublik Deutschland, Bonn, Kunsthistorisches Museum, Wien, Petra Kruse
TitleKaiser Karl V. (1500-1558). Macht und Ohnmacht Europas
Place of PublicationMilan
Year of Publication2000

Research History / Discussion

A comparative study suggests that this panel could be the right pendant to a Portrait of Friedrich III that has not yet been identified. (see Triptychon Hamburger Kunsthalle, Pendants Klassik Stiftung Weimar and Kunstsammlungen Veste Coburg)

[Brigitte Reineke, DHM, 2015/2016]

  • Johann the Steadfast. Elector of Saxony (1486-1532), about 1532

Images

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Technical studies

06.10.2015Technical examination / Scientific analysis

  • Identification of wood species / Dendrochronology

Identification of wood species: Beech wood

[Klein Report, 06.10.2015]

  • analysed by Peter Klein

10. 2015Technical examination / Scientific analysis

  • Instrumental material analysis

Analysis of paper

  • analysed by Barbara Korbel

02. 2015Technical examination / Scientific analysis

  • Infrared reflectography
  • irr

DESCRIPTION

Tools/Material:

- dry, dark drawing material, stylus

Type/Ductus:

- delicate, traced or copied lines

Function:

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

Deviations:

- minor corrections were made to forms during the painting process

INTERPRETATION

Attribution:

- Workshop of Lucas Cranach the Elder

Comments:

- Probably transferred from a preexisting design

[Sandner, Smith-Contini, Heydenreich, cda 2019]

  • photographed by Mathias Lang

02. 2015Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • x_radiograph

[Christoph Schmidt, Gemäldegalerie Berlin; Feb. 2015]

  • created by Christoph Schmidt

02. 2015Technical examination / Scientific analysis

  • UV-light photography
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  • photographed by Ulrike Hügle

02. 2015Technical examination / Scientific analysis

  • Instrumental material analysis

PIGMENTS: (X-ray fluorescence spectroscopy)

At all the points measured lead was detected (probably a lead based pigment in the ground or the imprimatura).

Red: 4, 5 (flesh paint: cheeks, lips): some vermilion, lead white

Blue: 1 (background): copper based blue pigment (probably azurite); lead white

White: 7 (shirt): lead white, some calcium present (possibly a small addition of chalk?)

Yellow: 2 (signature): lead-tin-yellow

Brown: 6 (beard): probably ochre, some vermilion

Black: 3 (hat): probably carbon black, some copper based pigment, some vermilion, high zinc content (siccative?) 8, 9 (printed text on the paper): probably carbon black

Ground: 10 (exposed white ground): lots of calcium (probably chalk ground)

[Jens Bartoll/SPSG Berlin, Feb. 2015]

  • analysed by Jens Bartoll

02. 2015Technical examination / Scientific analysis

  • Identification of wood species / Dendrochronology
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optical assessment and radial/tangential section examined employing transmitted light microscopy

  • analysed by Mathias Lang
  • analysed by Ulrike Hügle
  • analysed by Martina Homolka
  • analysed by Antje Liebers

2014 - 2016Technical examination / Scientific analysis

  • Infrared reflectography
  • X-radiography
  • UV-light photography
  • Stereomicroscopy
  • Instrumental material analysis
  • Identification of wood species / Dendrochronology
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Support

Beech wood

- the support is a single plank, radial cut

- the direction of the grain is vertical; the panel is trimmed on all four sides, thinned and has the following dimensions:

Plank 1: 36.0 cm x 23. 2 cm x 0.4 cm

Ground and Imprimatura

Light, white chalk ground that extends to the edge of the support. there is no barbe. Lead white detected across the entire painting using X-ray fluorescence spectroscopy suggests the presence of an imprimatura containing lead white.

Underdrawing

There is evidence for a relatively binding underdrawing that is visble as lively rogue lines and in general optically through the saponified paint layers. Close up infrared reflectographs clearly show a consentration of black for example in the lines of the mouth at the bottom or in the upper left nose line and may suggest the use of pouncing.

Paint Layers and Gilding

PIGMENTS: (X-ray fluorescence spectroscopy)

At all the points measured lead was detected (probably a lead based pigment in the ground or the imprimatura).

Red: 4, 5 (flesh paint: cheeks, lips): some vermilion, lead white

Blue: 1 (background): copper based blue pigment (probably azurite); lead white

White: 7 (shirt): lead white, some calcium present (possibly a small addition of chalk?)

Yellow: 2 (signature): lead-tin-yellow

Brown: 6 (beard): probably ochre, some vermilion

Black: 3 (hat): probably carbon black, some copper based pigment, some vermilion, high zinc content (siccative?) 8, 9 (printed text on the paper): probably carbon black

Ground: 10 (exposed white ground): lots of calcium (probably chalk ground)

The paint was applied to a white ground, which according to pigment analysis is probably a chalk based. The painted surface does not extend to the edge of the panel. A certain amount of lead white was detected employing x-ray fluorescence spectroscopy and suggests the presence of an imprimatur containing lead white. The flesh paint was executed first, then the clothes and finally the background. It overlaps the figure in many places, like the hat. In places the ground is left exposed. The paint is applied edge to edge. The background was executed rapidly in a thin, painterly application. There are also stripy impasto brushstrokes both crossways and in opposite directions. In the x-radiograph this dynamic application in different directions with a bristle brush is readily visible. The base tones were painted first, above those the shadows in a dense grey admixture. On top of this are isolated economic dark brown glazes creating shadows and linear texturing as well as single highlights. The fur and hair was applied over the glazed undertone. The brush strokes in the first layer of the fur run crossways to the texture of the fur applied on top. Clearly visible is the confident application of curved lines in the hair and fur that overlap neighbouring paint zones and are completed with highlights. The use of a fine paint brush frequently divided the stroke in two at the end. The painted areas are with the exception of the background smooth and without texture. Impasto highlights were employed for example in the shirt. In the x-radiograph it can be seen that the shirt was originally conceived slightly larger on the left side. Sections have been painted over. Also clearly visible are the highlights with a lead content and the dense application of the lighter areas with lead in the paint. The present varnish is not original.

Paper application on the lower section of the panel:

The inscription at the bottom of the panel is on paper and consists of two printed pages from a book. A section appears to be missing (original?) at the right side on the upper piece of paper.

Examination of the paper under the stereomicroscope shows the typical, unstructured, layered, woven fibre associated with high quality rag paper.

The print image is characteristic of the 16th century.

Framing

Not original frame

Profiled batten, gilded, stained dark, sgraffitto

45.6 cm x 32.5 cm x 5.5 cm (glazed)

  • examined by Mathias Lang
  • examined by Ulrike Hügle

Condition Reports

Date2016

  • reverse
  • conservation
  • conservation

Support:

Thinned, cradled (apparently with walnut wood); old woodworm damage. Open channels are visible. On the front of the panel where the edges are exposed it can be observed that the woodworm damage extends to just below the ground layer. Together with the cradle the wooden panel is 2 cm thick. There are no traces of ground or paint at the edges of the panel. This suggests that the panel may have been trimmed at a later stage.

Paint Layers:

The paint layers are in very good condition with the exception of isolated retouches and tiny losses. There are isolated areas of abrasion. There are drying cracks in the dark black paint areas and a fine network of cracks extends over the entire surface, but does not exhibit any cupping. The present varnish has yellowed slightly.

Paper:

The paper consists of two pages from a book and is stained, discoloured and abraded. The left page exhibits losses and retouching . There is a small loss in the right page at the top. Later an unprinted paper insert was attached here and toned in.

  • examined by Mathias Lang
  • examined by Ulrike Hügle

Conservation History

Date2016

After purchase of the painting only preventative measures were carried out in the Deutsche Historisches Museum. There is no documentation available regarding earlier interventions.

[Deutsches Historisches Museum, revised 2016]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Johann the Steadfast. Elector of Saxony (1486-1532)', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_DHM_Gm95-56/ (Accessed {{dateAccessed}})
Entry with no author
'Johann the Steadfast. Elector of Saxony (1486-1532)', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_DHM_Gm95-56/ (Accessed {{dateAccessed}})

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