Posterstein Crucifixion

Posterstein Crucifixion

Title

Posterstein Crucifixion

[Cat. Gera 2000, 24]

Painting on limewood

Medium

Painting on limewood

[Cat. Gera 2000, 24]

The panel is defined by a clear and simple frontal composition: moved right to the top the slightly smaller than life-size dying Christ occupies the central axis; the Virgin and the favourite apostle St John are positioned either side of the cross's shaft.

[Cat. Gera 2000, 24]

Attributions
Lucas Cranach the Elder and workshop
Lucas Cranach the Elder

Attributions

Lucas Cranach the Elder and workshop

[Sandner 1998 B, 101]

Lucas Cranach the Elder

[Cat. Gera 2000, 24] [Degen 1953, 196]

Production dates
about 1516 - 1517
about 1515

Production dates

about 1516 - 1517

[Cat. Gera 2000, 24]

about 1515

[Degen 1953, 196]

about 1516

[Sandner 1998 B, 85]

Dimensions
Dimensions of support: 151.5 x 99 cm

Dimensions

  • Dimensions of support: 151.5 x 99 cm

  • [Cat. Gera 2000, 24]

Signature / Dating

None

Owner
Kunstsammlung Gera
Repository
Kunstsammlung Gera
Location
Gera
CDA ID
DE_KSG_GM704
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_KSG_GM704/

Provenance

  • painted for the chapel of castle Posterstein, 15 kilometers east of Gera
  • 1943: became municipal property, donated by the Foundation of Art-lovers from Gera and Köstritz (Stiftung von Gerarer und Köstritzer Kunstfreunde)
    [Cat. Gera 2000, 24]

Literature

Reference on page Catalogue Number Figure / Plate
Cat. Gera 2000 24-26
EditorKunstsammlung Gera
TitleStreifzüge. Highlights der Kunstsammlung Gera
Place of PublicationGera
Year of Publication2000
Exhib. Cat. Eisenach 1998 100-101 No. 11.2 Figs. 11.2, 11.2a-c
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
Sandner 1998 B 85, 90
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
Exhib. Cat. Kronach 1994 366, 367 196 Fig. 196
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
Exhib. Cat. Basel 1974/1976 759
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
Degen 1953
AuthorKurt Degen
TitleDie Kreuzigungstafel von Posterstein. Ein wiederaufgefundenes Werk Lucas Cranachs des Älteren
JournalZeitschrift für Kunstgeschichte
Issue16/2
Year of Publication1953
Pages193-202

Research History / Discussion

There is a well-balanced distinction between gesticulation and posture: the Virgin with her inclined head covered in grief raises her linked hands. St John trows back his bare-head with blond curls and stares into the far distance beyond the crucifix petrified in pain. His interlocked and cramped hands are lowered in front of him, the palms facing out. [...] Both figures are shown close to the shaft of the cross, which they turn toward at a slight angle giving the impression of a shallow space. The splendid movement created by the calligraphic flourish of the fluttering loincloth is quite late gothic. It draws both figures closer together, and the rising wavy line of the tip cast over the head of the Virgin emphasizes Christ's inclined head and at the same time helps to close the gap between the accompanying figures and Christ's body.

[Degen 1953]

  • Posterstein Crucifixion, about 1516 - 1517

Images

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Technical studies

2000Technical examination / Scientific analysis

  • Infrared reflectography

Underdrawing

- the underdrawing is clearly visible on the figure of the crucified, the exceptionally subtle and brisk drawing was executed in black with a brush

[Cat. Gera 2000, 26]

1994Technical examination / Scientific analysis

  • Infrared reflectography
  • irr
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Underdrawing

DESCRIPTION

Tools/Materials:

- fluid, black medium and brush

Type/Ductus:

- detailed and freehand underdrawing

- thin to slightly broader lines

- occasional hatching-strokes

Function:

- relatively binding for the final painted version; lines delineate contours and describe essential details and the facial features; some representation of volume (hatching-strokes)

Deviations:

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

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Smith, Sandner, Heydenreich, cda 2013]

  • photographed by Gunnar Heydenreich

Conservation History

Date1980 - 1989

during a restoration in the eighties the overpaint was systematically removed and damage was marked with a conservation material.

[Cat. Gera 2000, 24]

Date1948 - 1949

  • large losses were reconstructed with the assistance of newly discovered photographs

[Cat. Gera 2000, 24]

Date1939

Restored in the Kaiser Friedrich-Museum, Berlin

[Degen 1953, 193]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Posterstein Crucifixion', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_KSG_GM704/ (Accessed {{dateAccessed}})
Entry with no author
'Posterstein Crucifixion', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_KSG_GM704/ (Accessed {{dateAccessed}})

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