Portrait of Princess Elisabeth of Saxony

Portrait of Princess Elisabeth of Saxony

Painting on laid paper

Medium

Painting on laid paper
oil-based pinkish-grey ground, brush and oil paint over dry, black drawing material

[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

The sitter's identity is confirmed by a full-length portrait painting for which this work served as a preparitory sketch. It is one of a series of portraits of the electoral-saxon family created in 1564. Accordingly the sitter is 12 years of age. Later in 1570 she married the reformed count

The sitter's identity is confirmed by a full-length portrait painting for which this work served as a preparitory sketch. It is one of a series of portraits of the electoral-saxon family created in 1564. Accordingly the sitter is 12 years of age. Later in 1570 she married the reformed count palatine Johann Casimir and suffered greatly under him because of her lutheran beliefs.

[Gero Seelig, Cat. Berlin 1994, 137f.]

Attribution
Lucas Cranach the Younger

Attribution

Lucas Cranach the Younger

[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]
[Schade 1972, Fig. 246, Fn. p. 465] [Bock, Cat. Berlin 1921, 21, no. 4452]

Dating
1564
about 1564

Dating

1564

[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

about 1564

[Schade 1974, Fig. 246, Fn. p. 465]

Dimensions
Sheet: 388 x 285 mm

Dimensions

  • Sheet: 388 x 285 mm

  • [Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

Signature / Dating

None

Labels

Verso: 'Freulein Elisabet'
[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

Labels

later inscription, stamps, seals, labels:

  • Verso: 'Freulein Elisabet'

  • [Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

Owner
Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz
Repository
Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz
Location
Berlin
CDA ID
DE_SMBKSK_KdZ4452
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/DE_SMBKSK_KdZ4452/

Literature

Reference on page Catalogue Number Figure / Plate
Buck 2015 143, 146, 147 Fig. 3
AuthorStephanie Buck
TitleAuf Papier. Zu Cranachs Bildnisstudien
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Pages142-153
Show Literature
Messling, Dietz 2015 117 Fig. p. 117
AuthorGeorg Josef Dietz, Guido Messling
TitleDie Porträtzeichnungen Cranachs des Jüngeren
Publicationin Roland Enke, Katja Schneider, Jutta Strehle, eds., Lucas Cranach der Jüngere - Entdeckung eines Meisters, Stiftung Luthergedenkstätten in Sachsen-Anhalt, Lutherstadt Wittenberg, Augusteum, 26 June - 1 November 2015
Year of Publication2015
Pages114-123
Show Literature
Werner 2015 C
AuthorElke Anna Werner
TitlePräsenz und Distanz. Zur Porträtkunst Lucas Cranachs des Jüngeren
Publicationin Roland Enke, Katja Schneider, Jutta Strehle, eds., Lucas Cranach der Jüngere - Entdeckung eines Meisters, Stiftung Luthergedenkstätten in Sachsen-Anhalt, Lutherstadt Wittenberg, Augusteum, 26 June - 1 November 2015
Year of Publication2015
Pages103-113
Show Literature
Hofbauer 2010 424, 425 212
AuthorMichael Hofbauer
TitleCranach - die Zeichnungen
Place of PublicationBerlin
Year of Publication2010
Show Literature
Exhib. Cat. Stuttgart 1980 15 A15
AuthorHeinrich Geissler
TitleZeichnungen in deutschland. Deutsche Zeichner 1540 - 1640 [Staatsgalerie Stuttgart]
Place of PublicationStuttgart
Year of Publication1980
Show Literature
Schade 1974 102, 103, 465 Fig. 246
AuthorWerner Schade
TitleDie Malerfamilie Cranach
Place of PublicationDresden
Year of Publication1974
Link http://digi.ub.uni-heidelberg.de/diglit/schade1974
Show Literature
Exhib. Cat. Munich 1956 31 051
Authorn. a.
TitleDeutsche Zeichnungen 1400 - 1900 [Munich, Berlin, Hamburg, before in Washington, Cleveland, Boston, San Francisco, New York]
Place of Publication[n.a.]
Year of Publication1956
Show Literature
Cat. Berlin 1921 21 4452 Vol. II, pl. 27
AuthorElfried Bock
TitleDie Zeichnungen alter Meister im Kupferstichkabinett. Die deutschen Meister. Beschreibendes Verzeichnis sämtlicher Zeichnungen, Staatliche Museen zu Berlin
Place of PublicationBerlin
Year of Publication1921
Link https://digi.ub.uni-heidelberg.de/diglit/bock1921ga
Show Literature
Friedländer 1910/1911
AuthorMax Friedlaender
TitleEine Porträtstudie des jüngeren L. Cranach
JournalAmtliche Berichte aus den Preuszischen Kunstsammlungen
Issue32
Year of Publication1910
Pages134-138
Show Literature

Research History / Discussion

Striking is the austere expression of concentration in the face, which has been completely worked up, while the remaining composition is only suggested. The initial design was executed in black chalk on a pale pink sheet of paper with a ground application. Subsequently the flesh paint was carried out with an initial bright pink paint layer applied with increasing transparency in the areas of shadow. A wreath of hair in brown and yellow paint completes the face, whereas the remaining composition was merely indicated with brown brushstrokes. This economic and effective oil sketch is a technique developed by Cranach the Elder. Our sheet also corresponds with what H. Geissler referred to as idealized portraits, which he nevertheless assumes were recorded in front of the model. The superb quality of the work lies in the balance between the artistic form and the palpable human presence.

[Gero Seelig, Cat. Berlin 1994, 137f.]

The toned paper, the linearity of the bust portrait, the economic indication of costume details and the exquisite precision of form are comparable with Holbein. This court style reflects the noble status of the sitter.

[Buck 2015, 147]

the contours were not pressed through, but were reproduced exactly on the panel of the painting.[1]

[...] the oil sketch served as a reminder and reliable guide for the painting process and this would explain the presence of barely visible details that were carried over from the sketch. Moreover they are also included in the underdrawing. The position of shadows was also carried over.

[1] This was confirmed by using tracing paper; to date tracings have only been made from reproductions with the same dimensions as the originals and it would useful to confirm this with ones taken from the original works.

[Buck 2015, 147]

  • Portrait of Princess Elisabeth of Saxony, 1564

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License: Creative Commons Attribution 4.0 International

Technical studies

2026Technical examination / Scientific analysis

  • Examination of paper / structural analysis
  • Infrared reflectography
  • UV-light photography
  • Instrumental material analysis
  • Stereomicroscopy

Support

Paper type: laid

Chain lines, orientation to image: -

Chain lines (intervals): not identifiable

Laid lines (density): not identifiable

Mould side: not identifiable

Formation: not identifiable

Paper defects: not identifiable

Shadow lines: not identifiable

Mould defects: not identifiable

[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

Process, Medium

The portrait study is executed in oil paint on paper with an oil-based primer. X-ray fluorescence analysis (XRF) detected lead (Pb) in the ground (M4). This suggests the use of lead white and simultaneously identifies the red-orange pigment responsible for the ground’s slight pinkish hue as red lead. The loose sketch in a dry, black drawing material (M7) revealed no elements other than lead (Pb) from the ground. It remains unclear whether the drawing material is an organic black, such as charcoal, or a manufactured black chalk containing lamp black. If it were natural black chalk (a carbon-based aluminium silicate), it is possible that the X-ray fluorescence technique used was not sensitive enough (specifically, the measurement spot may have been too large, and it is difficult to detect light elements, such as aluminium and silicon, in small quantities).

Lead (Pb) and mercury (Hg) were detected in the red lips (M1) with white highlights, indicating the use of lead white and vermillion. The same pigments were identified in the flesh tones of the lower right cheek (M2). In the right eye (M5), lead (Pb), copper (Cu), and mercury (Hg) were measured, pointing to a combination of lead white, azurite, and vermillion. The blonde hair (M6) revealed lead and iron, suggesting a mixture of lead white and ochre. Conversely, the clothing (M3)—quickly sketched in brown with a brush—yielded no elements other than lead (Pb) from the ground, indicating the likely presence of an organic brown pigment.

In the infrared reflectogram (IRR), the initial sketch—loosely drawn with a black, carbon-based material—becomes more distinct. On the right shoulder, the colour-matched retouching from 1993/1994 of an old loss now appears darker.

[Georg Josef Dietz, drawing on results from infrared reflectography by Gunnar Heydenreich, as well as a joint study with Mailena Mallach, Luise Maul and Dominika Ropers (née Wojciechowska), March 2026]

2026Technical Examination

  • Watermark

Watermark: absent

[Kupferstichkabinett, Staatliche Museen zu Berlin, Stiftung Preußischer Kulturbesitz 2026]

25.07.2025Scientific analysis

  • Instrumental material analysis

X-ray fluorescence (XRF) (Thermo Scientific - Niton XL3t GOLDD+)

The following elements were detected using XRF and in conjunction with their optical characteristics the following fillers, drawing media and colourants could be identified:

M1 Red (mouth): Pb, Hg

Pb: lead white; Hg: vermillion

M2 Pink (flesh paint): Pb, Hg

Pb: lead white; Hg: vermillion

M3 Brown/black (drawing medium): Pb

Pb: lead white

M4 Paper: Pb

Pb: lead white

M5 Eye: Pb, Cu, Hg

Pb: lead white; Cu: copper-based blue (azurite?); Hg: vermillion

M6 Brown (hair): Pb, Fe

Pb: lead white; Fe: iron oxide / ochre (?)

M7 Paper: Pb

Pb: lead white

[Gunnar Heydenreich, Sarah Critchley, unpublished analysis report, 25.07.2025]

  • examined by Gunnar Heydenreich
  • examined by Sarah Critchley

2015Technical Examination

Support

- paper

- the dimensions correspond to those of a whole folio sheet

Ground and Imprimatura

- an ivory/pale pink ground was applied to the paper support

Underdrawing

- the initial design was drawn with a black stylus and is loose and sketchy in character and yet more detailed than[DE_SMBKSK_KdZ2378]

[Buck 2015, 146, 147]

Condition Reports

Date2015

The large format drawing is lined on the reverse.

[Buck 2015, 146, Fn. 32]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Portrait of Princess Elisabeth of Saxony', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_SMBKSK_KdZ4452/ (Accessed {{dateAccessed}})
Entry with no author
'Portrait of Princess Elisabeth of Saxony', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DE_SMBKSK_KdZ4452/ (Accessed {{dateAccessed}})

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