The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right)

The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right)

Title

The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right)

[Statens Museum for Kunst, revised 2013]

Painting on wood

Medium

Painting on wood

[Statens Museum for Kunst, revised 2013]

The Elector Frederic the Wise of Saxony (1463-1525) with Saints Ursula (left) and Genevieve (right).

[Statens Museum for Kunst, revised 2013]

Attributions
Lucas Cranach the Elder
Lucas Cranach the Elder (and Workshop)

Attributions

Lucas Cranach the Elder

[Exhib. Cat. Gotha 2015, No. 6] [Statens Museum for Kunst, revised 2013]

Lucas Cranach the Elder (and Workshop)

[Exhib. Cat. Düsseldorf 2017, 117, No. 15]

Production dates
about 1510 - 1512
about 1512

Production dates

about 1510 - 1512

[Exhib. Cat. Gotha 2015, No. 6] [Statens Museum for Kunst, revised 2013]

about 1512

[Exhib. Cat. Hamburg 2003, 167, No. 4]

Dimensions
Dimensions of support: 101.0 x 36.5 x 0.6 cm

Dimensions

  • Dimensions of support: 101.0 x 36.5 x 0.6 cm

  • Dimensions including frame: 109.5 x 43.0 cm

  • [Statens Museum for Kunst, revised 2013]

Signature / Dating

None

Inscriptions and Labels

Reverse of the panel:

  • at top left:
    2 adhesive labels with a blue boarders and a circular label; on the …

Inscriptions and Labels

Stamps, Seals, Labels:

  • Reverse of the panel:

    • at top left:
  • 2 adhesive labels with a blue boarders and a circular label; on the top rectangular label, handwritten in brown ink: 'Inv: Sp: 730. [/] C[...] I [/] Stuck F.'

    • top third, at the bottom left:
  • in yellow paint: 'Sp 730'

    • at bottom right:
  • gold card, handwritten in black ink: 'Lucas Cranach d. a (1472 - 1553) [/] Kurfurst Frederik den Vise (1482 - 1556) [/] mellem den hl Ursula og den hl Genoveva.'

  • [cda 2013]

Owner
Statens Museum for Kunst, Copenhagen
Repository
Statens Museum for Kunst, Copenhagen
Location
Copenhagen
CDA ID
DK_SMK_KMSsp730
FR (1978) Nr.
FR036
Persistent Link
https://lucascranach.org/en/DK_SMK_KMSsp730/

Provenance

  • listed in the inventory of Schloss Gottorf 1710
  • listed in the inventory of Schloss Gottorf 1743, this was used when the painting was delivered to Copenhagen in 1759
  • acquired from Schloss Gottorf 1759

[Statens Museum for Kunst, revised 2013]

Exhibitions

Stockholm 1988
Copenhagen 2002
Hamburg 2003
Gotha, Kassel 2015, No. 6
Düsseldorf 2017, No. 15

Literature

Reference on page Catalogue Number Figure / Plate
Cat. Coburg 2018 127 under nos. 21, 22
AuthorKlaus Weschenfelder
TitleCranach in Coburg. Gemälde von Lucas Cranach d.Ä., Lucas Cranach d.J., der Werkstatt und des Umkreises in den Kunstsammlungen der Veste Coburg
Place of PublicationRegensburg
Year of Publication2018
Exhib. Cat. Düsseldorf 2017 117 No. 15
EditorGunnar Heydenreich, Daniel Görres, Beat Wismer
TitleLucas Cranach der Ältere. Meister - Marke - Moderne. [anlässlich der Ausstellung "Cranach. Meister - Marke - Moderne", Stiftung Museum Kunstpalast, Düsseldorf, 08. April 2017 - 30. Juli 2017]
Place of PublicationMunich
Year of Publication2017
Exhib. Cat. Gotha, Kassel 2015 102-104 6 Pl. p. 104
EditorJulia Carrasco, Justus Lange, Stiftung Schloss Friedenstein, Gotha, Benjamin D. Spira, Timo Trümper
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
CDA.Bloh 2005 175
AuthorJutta Charlotte von Bloh
TitleKleidung und Waffen in den Fürstenbildnissen der Cranachs
Publicationin Harald Marx, Ingrid Mössinger, Karin Kolb, eds., Cranach, Exhib. Cat. Chemnitz 2005
Place of PublicationCologne
Year of Publication2005
Pages174-181
Exhib. Cat. Hamburg 2003 26, 162, 167 004 Pl. 4
EditorBucerius Kunst Forum, Werner Schade
TitleLucas Cranach. Glaube, Mythologie und Moderne [Bucerius Kunst Forum, Hamburg]
Place of PublicationOstfildern-Ruit
Year of Publication2003
Exhib. Cat. Copenhagen 2002 32, 34, 68 No. 13 Fig. p. 34
AuthorHanne Kolind Poulsen
TitleCranach [Statens Museum for Kunst , Copenhagen]
Place of PublicationCopenhagen
Year of Publication2002
Exhib. Cat. Schleswig 1997 541 (Vol. 2); 365 (Vol. 2) No. 160 (Vol. 1); No. 435 (Vol. 2) Fig. p. 484 (Vol. 1); Fig. p. 260 (Vol. 2)
EditorJan Drees, Heinz Spielmann
TitleGottorf im Glanz des Barock. Kunst und Kultur am Schleswiger Hof 1544-1713. Bd. 1: Die Herzöge und ihre Sammlung
Volume1
Place of PublicationSchleswig
Year of Publication1997
Exhib. Cat. Stockholm 1988 43 No. 21 Fig.
EditorNationalmuseum, Stockholm
TitleCranach och den tyska renässancen
Place of PublicationStockholm
Year of Publication1988
Friedländer, Rosenberg 1979 No. 36
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Friedländer, Rosenberg 1932 18, 35 Fig.
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

Research History / Discussion

DE_KMSsp730_FR036 could acc. to [Friedländer, Rosenberg 1978, No. 36] be the left-wing of "Virgin and Child with the Saints Catherine and Barbara" = DK_SMK_KMSsp731_FR-NONE. The arguments in favor of the theory are the height of the two images which are (almost) the same and Friedländer, Rosenberg’s presumption of a common provenance (from Gottorp Castle) [though it is not certain that even “Virgin and Child…” is from Gottorp Castle]. The arguments against are the difference in style, the backgrounds and the characters' scale.

There is a marked similarity between the Saints Ursula and Genovevas face types and those from the wings at the Katharina altar in Gemäldegalerie, Dresden (DE_SKD_GG1906B_FR012; DE_SKD_GG1906BB_FR013).

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

The fact that both works [DK_SMK_KMSsp731] may originally have been assembled together as part of an altar has provoked a controversial debate amongst scholars: however disregarding the almost identical format of both panels, which have only been together in the Royal collection in Copenhagen since the 18th century, the difference in scale of the figures, their stylistic variance and the divergent backgrounds argue against their common identity. [1] The central panel exhibits strong links to the somewhat larger so-called Princes‘ Altar in Dessau (about 1510), which was presumably created for the Lady Chapel in the church of the Wittenberg Castle and anticipates the composition of the panel in Copenhagen both stylistically and in the choice of motifs as well as in the evolution of the pictorial type representing a half-length figure of the Virgin and saints. [2] The serenity emanated by the painting in Copenhagen has here yielded to a formal solemnity. [3] The Dessau wing panels also depict Duke Johann the Steadfast of Saxony on the left side wearing the same attire as on the panel in Copenhagen, but against a black background and he is accompanied by St Bartholomew. A similarly clear association was established between the central panel in Copenhagen and a depiction of ‘The Virgin and Child with Sts Catharine, Barbara and Dorothea’ (about 1512-1514) [DE_smbGG-Lost_NONE-001] destroyed [lost] during the war. Here single motifs like the pose and position of the Child, how the ring is placed on the finger and the gesture of St Barbara bare more affinity than the painting in Dessau: [4] the style and format, but above all the landscape background, which being untypical for Cranach suggests the hand of an apprentice, caused scholars to speculate that the panel formerly in Berlin may have been the pendant to the donor panel in Copenhagen. [5] Influences from Netherlandish and Italian sources as well as the example of Albrecht Dürer have been discussed with varying degrees of conviction in relation to the origin of the pictorial type of the Virgin. [6] While the facial type of the Virgin corresponds with the common female physiognomy painted by Cranach between 1500 and 1510, as represented among others by the ‘Venus’ in St Petersburg (1509), [7] a greater similarity between the female heads on the wing panel and the saintly figures on the Catharine Altar in Dresden can be observed. [8]

The correspondence between the altarpieces mentioned and the paintings in Copenhagen not only supply insight into their original context but also demonstrate for Cranach’s early production of altarpieces a characteristic exploitation of an established repertoire of motifs, whose prototypes were taken in part from the artist’s graphic works. [10]

[1] Friedländer, Rosenberg 1979, 76, No. 36; Exhib. Cat. Copenhagen 2002, 91, Nos. 12 and 13; Exhib. Cat. Hamburg 2003, 167, Nos. 4 and 4a.

[2] Flechsig 1900, 85f.; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 23-25, No. 7.

[3] Exhib. Cat. Hamburg 2003, 167, No. 4a

[4] Friedländer, Rosenberg 1979, 76, No. 37; Erichsen 1994, 164, Fn. 4; Exhib. Cat. Hamburg 2003, 167, No. 4

[5] Ebenda. A copy of the Berlin painting exists in the Jáchymov (Sankt Joachimsthal), Czech Republic. Erichsen 1994, 157.

[6] Schade 1974, 38-40; Friedländer, Rosenberg 1979, 72, No. 20; Cat. Dessau 1996, 24.

[7] Exhib. Cat. Hamburg 2003, 167, No. 4a.

[8] Friedländer, Rosenberg 1979, 68f., Nos. 12-15 and S. 76, No. 36

[9] Further panels with the Virgin showing the Legend of St Catherine exist in Dessau (1516) [DE_AGGD_10] and Budapest (um 1516-18) [HU_SMB_133]. Friedländer, Rosenberg 1979, 87, Nos. 85 and 85

[10] Erichsen 1994, 156-161

[Carrasco, Exhib. Cat. Gotha, Kassel 2015, 102, 103, Nos. 6, 7]

  • The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right), about 1510 - 1512

Images

Compare images
  • overall
  • overall
  • reverse
  • irr
  • irr
  • irr
  • x_radiograph
  • detail

Technical studies

2017Technical examination / Scientific analysis

  • Infrared reflecetography
  • irr
  • irr
  • irr

Underdrawing

DESCRIPTION

Tools/Material:

- fluid, black medium, brush

Type/Ductus:

- freehand underdrawing, probably after a pre-existing design

- relatively broad lines in part not binding

Function:

- only in part binding for the final painted version, lines roughly delineate the main contours and describe essential details and facial features; occasional representation of volume with hatching strokes (a few lines on the elector’s head)

Deviations:

- numerous corrections were made to forms during the painting process; changes (e. g. in the face of Friedrich the Wise as well as his right hand. Genoveva’s mouth and chin were shifted further down and the face was made thinner during the painting process, the position of her eyes was also changed. Ursula’s face also exhibits some changes.

INTERPRETATION

Attribution:

- Lucas Cranach the Elder

[Sandner, Smith-Contini, Heydenreich, cda 2018]

  • photographed by Gunnar Heydenreich
  • photographed by Ingo Sandner

2013Technical examination / Scientific analysis

  • reverse

Support

The thickness of the support is 6 mm and the wooden type is linden.

All four edges of the panel are chamfered on the back of the panel.

The panel is made from approx. eight planks (joints cannot be identified because of the thick layer of brown paint on the back) and the grains are horizontal.

The back of the panel is painted in a brown earth colour and the structure of the back is very even and without any tool marks.

No fibres could be identified on the back of the panel.

The format of the panel is probably the original, but since all the edges of the painting are covered with the brown paint it is impossible to tell whether the edges could have been sawn off.

Ground and Imprimatura

Along the right and left side of the painting there are incised lines in the ground 9-12 mm from the edge on both sides.

The ground is applied with a brush or an iron and there is bare wood along all edges of the painting.

The ground was applied an isolation layer of white lead and oil, which is visible on cross section no. 329a where it appears as a finely ground layer between the ground and paint layer.

Underdrawing

The underdrawings are very loosely drawn and it is only the location of people, faces and hands that has been drawn.

The underdrawings are made in a wet and dark coloured medium.

The hair of the Elector is drawn with curls and covering the ears and the beard. The underdrawing of the beard is drawn longer up the chin compared to the painted beard.

There is hatching which mark the rounding of the forehead.

The right hand is moved a bit compared to the underdrawing.

The veins of the hands are strongly drawn up so the underdrawings are visible through the overlying layers of paint.

The face of Genoveva is changed compared to the underdrawing – the mouth and chin are painted lower than the drawings, the facial shape is painted narrower than the underdrawing and the eyes are also changed compared to the drawing.

The underdrawings of the mountain in the background of the painting are only visible some places, e.g. under the house at the left.

Paint Layers and Gilding

Oil paint on wood.

There is no dark underpaint in the red dress of Ursula.

The mountain and the sky were made during the stage of the underpaint and it was painted in thin almost translucent layers.

The white sleeves of Genoveva were painted in grey shades.

It is difficult to see whether the figures and the flesh paint were painted on top of a slightly brown imprimatur or if it is underpaint.

The green dress was painted during the stage of the underpaint. It has a green translucent paint layer on top of the underpaint and afterwards the light and shadows were applied.

The pigments are thinly ground, probably in oil.

The painting seems to be painted from background to foreground.

The red dress has an orange red underpaint and dark translucent shadows are painted on top.

The golden areas in the Electors coat was left in reserve and the grey and golden areas were painted on later.

There are drying cracks in some areas of the Elector's black dress.

The paint layers are very transparent and thinly applied.

The brushstrokes are almost not visible.

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

03.04.2009Technical examination / Scientific analysis

  • X-radiography
  • x_radiograph
  • created by Statens Museum for Kunst, Copenhagen

Condition Reports

Date2013

Support:

The panel is not warped

The back of the panel is painted in a brown earth colour and the structure of the back is very even and without any tool marks.

Before the brown paint was applied an x-ray absorbing material was added at the back and filled in all the holes from the wood worms. This material is probably white lead and was added as a treatment for the old wood worm attack.

The panel has maybe been planed down since there are some marks on the back which could indicate it.

There are several horizontal cracks in the support, especially in an area approx. 40-47 cm from the top. Besides across the nose and in the hands of the Elector, and across the foreheads of the Saints.

The format of the panel is probably the original, but since all the edges of the painting are covered with the brown paint it is impossible to tell whether the edges could have been sawn off.

Paint Layers:

There are natural ageing cracks all over the surface of the painting.

There are some retouches, especially along the cracks, appearing matte and slightly discoloured.

The varnish on top of the paint is semi matte and there are spots and impurities under the varnish.

[Mette Kokkenborg, Statens Museum for Kunst, 2013]

Date25.03.2003

  • examined by Henrik Bjerre

Date01. 1966

  • examined by Ole Alkærsig

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right)', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DK_SMK_KMSsp730/ (Accessed {{dateAccessed}})
Entry with no author
'The Elector Frederic the Wise of Saxony (1463-1525) with the Saints Ursula (left) and Genevieve (right)', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/DK_SMK_KMSsp730/ (Accessed {{dateAccessed}})

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