Christ in Limbo

Christ in Limbo

Title

Christ in Limbo

[Friedländer, Rosenberg 1979, 145, No. 374]

Painting on limewood (Tilia sp.)

Medium

Painting on limewood (Tilia sp.)

[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

The decent of Christ into a subterranean limbo to liberate the innocent children and the 'just' in accordance with the laws of the old covenant is not mentioned in the bible, but rather in medieval apocryphal writing. A dark smoke cloud in the shape of animal-like devilish figures dissipates above

The decent of Christ into a subterranean limbo to liberate the innocent children and the 'just' in accordance with the laws of the old covenant is not mentioned in the bible, but rather in medieval apocryphal writing. A dark smoke cloud in the shape of animal-like devilish figures dissipates above those waiting for salvation. Christ stands on the top ledge of the painting wearing a red cloak and carrying the banner of the cross. Grabbing onto Eve's wrist he pulls her up. The bearded man beside her, who can be identified as Adam, tugs on his red cloak. Around Christ the redeemed souls join their hands in prayer.

[see Elke a. Werner, Exhib. Cat. Berlin 2009, 217-219, No. IV.21]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

Production date
1538

Production date

1538

[dated]

Dimensions
Dimensions of support: 151.2 x 116.2 cm

Dimensions

  • Dimensions of support: 151.2 x 116.2 cm

  • [Stiftung Preußische Schlösser und Gärten, Berlin - Brandenburg, revised 2011]

Signature / Dating

Artist's insignia at the lower edge: winged serpent (with dropped wings) and date '1538'

Signature / Dating

  • Artist's insignia at the lower edge: winged serpent (with dropped wings) and date '1538'

Owner
Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Repository
Grunewald hunting lodge
Location
Grunewald
CDA ID
DE_SPSG_GKI2271
FR (1978) Nr.
FR374
Persistent Link
https://lucascranach.org/en/DE_SPSG_GKI2271/

Connected Works

The Washing of the Feet
  • The Washing of the Feet, 153[7]
  • DE_smbGG_579
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
The Agony in the Garden
  • The Agony in the Garden, about 1537
  • DE_smbGG_580
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
The Entombment
  • The Entombment, 1538
  • DE_smbGG_581
  • Painting
  • Staatliche Museen zu Berlin, Gemäldegalerie
Christ carrying the Cross
  • Christ carrying the Cross, about 1537 - 1538
  • DE_SPSG_GKI1190
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Christ crowned with Thorns
  • Christ crowned with Thorns, 1537
  • DE_SPSG_GKI1194
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
The Scourging of Christ
  • The Scourging of Christ, 1537
  • DE_SPSG_GKI2270
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
The Resurrection
  • The Resurrection, about 1537 - 1538
  • DE_SPSG_GKI1189
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg
Ecce Homo
  • Ecce Homo, 1537
  • DE_SPSG_GKI1193
  • Painting
  • Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg

Provenance

  • from the old Domkirche (Cathedral) Berlin
    [Friedländer, Rosenberg 1979, 145, No. 374]

  • probably taken from the Domkirche (Cathedral) in the 17th century and placed in the Erasmuskapelle (Erasmus Chapel) in the Berliner Schloss (Berlin Palace); eight Passion paintings are listed in the Berliner Schloss inventory from 1700
    [Exhib. Cat. Berlin 2009, 213, Nos. IV.14-22]

Exhibitions

Berlin 2009/10, No. IV.21

Literature

Reference on page Catalogue Number Figure / Plate
Sandner, Heydenreich, Smith-Contini 2015 136, Fn. 61
AuthorGunnar Heydenreich, Ingo Sandner, Helen Smith-Contini
TitleVeränderungen beim Unterzeichnen in Cranachs Werkstatt und die Arbeitsweise von Sohn Lucas
Publicationin Elke A. Werner, Anne Eusterschulte, Gunnar Heydenreich, eds., Lucas Cranach der Jüngere und die Reformation der Bilder
Place of PublicationMunich
Year of Publication2015
Link https://lucascranach.org/application/files/5215/6337/7366/Heydenreich_Sandner_Smith-Contini_2015_-_Unterzeichnung.pdf
Pages128-141
Show Literature
Exhib. Cat. Berlin 2009 A 217-219 No. IV.21 Fig. IV.21
EditorStiftung Preussische Schlösser und Gärten Berlin-Brandenburg
TitleCranach und die Kunst der Renaissance unter den Hohenzollern. Kirche, Hof und Stadtkultur
Place of PublicationBerlin
Year of Publication2009
Show Literature
Most, Wolf et al. 2009 95 Fig. 10
AuthorMechthild Most, Anja Wolf, Peter Klein, Undine Köhler, Jens Bartoll, Eva Wenders de Calisse
TitleZur Maltechnik der beiden Cranach und ihrer Werkstatt. Ergebnisse der technologischen Untersuchung der Bildtafeln der Stiftung Preußische Schlösser und Gärten
Publicationin Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Evangelische Kirchengemeinde St. Petri-St. Marien, eds., Cranach und die Kunst der Renaissance unter den Hohenzollern, Exhib. Cat. Berlin
Place of PublicationBerlin
Year of Publication2009
Pages86-97
Show Literature
Tacke 2007 C 81, 82, 84
AuthorAndreas Tacke
TitleMit Cranachs Hilfe: Antireformatorische Kunstwerke vor dem Tridentiner Konzil
Publicationin Bodo Brinkmann, ed., Cranach der Ältere, [Exhib. Cat. Frankfurt am Main]
Place of PublicationOstfildern
Year of Publication2007
Link http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2012/2000
Pages81-89
Show Literature
Erichsen 1994 A 157, 158
AuthorJohannes Erichsen
TitleAltäre Lucas Cranachs und seiner Werkstatt vor der Reformation
Publicationin Claus Grimm, Johannes Erichsen, Evamaria Brockhof, eds., Lucas Cranach. Ein Maler-Unternehmen aus Franken, Exhib. Cat. Kronach 1994
SeriesVeröffentlichungen zur bayerischen Geschichte und Kultur
Volume26/94
Place of PublicationAugsburg, Regensburg
Year of Publication1994
Pages150-165
Show Literature
Friedländer, Rosenberg 1979 145 No. 374 Fig. 374
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Show Literature
Friedländer, Rosenberg 1932 299
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
Show Literature
Schuchardt 1851 C 15-16 16
AuthorChristian Schuchardt
TitleLucas Cranach des Aeltern Leben und Werke. Zweiter Theil
Place of PublicationLeipzig
Year of Publication1851
Link http://digi.ub.uni-heidelberg.de/diglit/schuchardt1851bd2
Show Literature

Research History / Discussion

‚The painting is one of nine Passion panels, that were originally parts of an unknown number of winged altarpieces. Commissioned by Joachim II Lucas Cranach the Elder and his workshop created them for the collegial church in Berlin (Berliner Stiftskirche) between 1537 and 1538. This is one of the central panels, which was probably flanked by full-length depictions of saints on the wings and complemented by scenes from the old testament on the predella. […] The Berlin Passion cycle was based on the 16 Passion altarpieces, which were commissioned by Cardinal Albrecht from Lucas Cranach the Elder and his workshop for the collegial church in Halle (Hallenser Stiftskirche) (about 1520-1525) and it was the second large painted Passion series created in the Cranach workshop. Not only are numerous central panels now missing from the Berlin Passion altarpieces, like for example ‚The Arrest of Christ‘ or ‚The Crucifixion‘, but in addition the whereabouts of all the wing panels and a large number of the predella panels is unknown. They were probably lost in 1613 when Elector Johann Sigismund converted to Calvinism. […]‘

[Elke A. Werner, Exhib. Cat. Berlin 2009, 213, No. IV.14-22]

‘In contrast to the extensive pictorial tradition of the 15th and early 16th centuries Cranach does not depict the broken door of Hell and Christ triumphing over the devil. […] the fact that the architecture deviates from that in traditional representations of the scene may be explained by the original position the panel occupied in the church. The missing door and the sober composition lacking in detail could also be associated with Luther’s sermon from 1533 in Torgau. In his sermon Luther specifically addressed the subject of purgatory in the visual arts and accepted depictions that served as ‘images of instruction’ to assist in the understanding of the articles of faith. However, within this context he also warned against details, for example the door and the locks of Hell.’

[Elke A. Werner, Exhib. Cat. Berlin 2009, 217-219, No. IV.21]

  • Christ in Limbo, 1538

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