Lucretia

Lucretia

Title

Lucretia

[Friedländer, Rosenberg 1979, No. 55]

Painting on lime wood

Medium

Painting on lime wood

[Auct. Cat. Sotheby's 2011, 98, No. 34]

wood

[http://www.britannica.com/; 06.01.2015]

The painting depicts Lucretia as a seated half-length figure in contemporary dress with contemporary accessories.

Her white dress with its puffed sleeves has slipped off her shoulders to reveal her chest. Only her left breast is covered by the green fur-trimmed gown. Lucretia's left hand rests in her lap and she

The painting depicts Lucretia as a seated half-length figure in contemporary dress with contemporary accessories.

Her white dress with its puffed sleeves has slipped off her shoulders to reveal her chest. Only her left breast is covered by the green fur-trimmed gown. Lucretia's left hand rests in her lap and she holds the long dagger in her right hand. She has raised it slightly and it touches her under the right breast. Lucretia's head is inclined slightly to the left and she looks at the viewer. Her curly brown hair is held back with a black hair-band. She wears an artistic chain and two large linked chains as well as another large chain around her neck.

The background is dark.

[Herrschaft, cda 2012]

According to the legend Lucretia lived in the 6th century BC and was the beautiful and virtuous wife of the roman Collatinus. The roman King's son - Sextus Tarquinius fell in love with her. During a stay in her house Sextus threatened to kill her and shame her honour if she did not surrender to him. After the rape Lucretia had her father and husband vow vengeance and then she stabbed herself. The event led to an uprising in which the royal family was overthrown and the Roman Empire became a Republic.

Depictions of Lucretia who was seen as the epitomy of female virtue, chastity, fidelity and honour enjoyed great popularity, particularly in the 16th century.

[Literature: Bierende 2002, Follak 2002, Livius 1909]

Attribution
Lucas Cranach the Elder

Attribution

Lucas Cranach the Elder

[Friedländer, Rosenberg 1979, 80, No. 55]
[Auct.Cat. Sotheby's New York 1988 in the Archive D. Koepplin]

Production dates
about 1509 - 1510
about 1512 - 1514

Production dates

about 1509 - 1510

[Auct. Cat. Sotheby's New York 2011, 98, No. 34]

about 1512 - 1514

[Friedländer, Rosenberg 1979, 80, No. 55]

Dimensions
Dimensions of support: 60.3 x 48.9 cm

Dimensions

  • Dimensions of support: 60.3 x 48.9 cm

  • [Auct. Cat. Sotheby's NY 2011, 98, No. 34]

  • Slight difference at Britannica:

  • 57 x 46.5 cm

  • [http://www.britannica.com/; 06.01.2015]

Signature / Dating
None
Owner
Private Collection
Repository
Private Collection
CDA ID
PRIVATE_NONE-P063
FR (1978) Nr.
FR055
Persistent Link
https://lucascranach.org/en/PRIVATE_NONE-P063/

Provenance

  • 1920 auctioned at Art Collectors Assoc. Ltd., London
    [Auct. Cat. Sotheby's NY 2011, 98, No. 34]
    [Friedländer, Rosenberg 1979, 80, No. 55]
  • 03.06.1988 auctioned at Sotheby's, New York
    [Auct. Cat. Sotheby's NY 2011, 98, No. 34]
    [handwritten annotation D. Koepplin in the Auct. Cat. Sotheby's NY in the Archive D. Koepplin]
  • 26.01.2012 auctioned at Sotheby's, New York, lot 34
    [Auct. Cat. Sotheby's NY 2011, 98, No. 34]
  • 05.-16. July 2014 'Contemplation of the Divine' Sotheby's London
    [http://www.sothebys.com/de/auctions/ecatalogue/2014/contemplation-divine-l14906/lot.5.html]

Literature

Reference on page Catalogue Number Figure/Plate
Friedländer, Rosenberg 1979 80 No. 055 Fig. 55
AuthorMax J. Friedländer, Jakob Rosenberg
EditorG. Schwartz
TitleDie Gemälde von Lucas Cranach
Place of PublicationBasel, Boston, Stuttgart
Year of Publication1979
Friedländer, Rosenberg 1932 39 048 Fig. 48
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

Description/ Interpretation/ Comments

Friedländer associates it with the painting ‚The Virgin as Mother of Sorrows‘ in the Birnbaum Collection, Amsterdam

[Friedländer, Rosenberg 1932, 39, No. 48]

This is one of the earliest preserved paintings depicting Lucretia. Stylistically and in size it is very similar to a Lucretia painting created by Cranach about 1510-13 [FR042].

[Herrschaft, cda 2012]

  • Lucretia, about 1509 - 1510

Images

Compare images
  • overall

Technical studies

2011 - Technical examination / Scientific analysis

  • Stereomicroscopy
  • Infrared reflectography

Support

- four stripes of linden run horizontally, unusual

Ground and Imprimatura

- double white ground, first more liquid, second thicker

Underdrawing

- no underdrawing visible to naked eye or under infrared examination

Paint Layers and Gilding

- composition revised while worked on it: changes to the length and positioning of Lucretia´s left thumb, it was oroginally smaller and was possibly hidden under the fur at the egde of her mantle

Framing

- framing elements were nailed to the panel before ground was applied

[Auct. Cat. Sotheby´s 2011, 98, No. 34]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'Lucretia', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P063/ (Accessed {{dateAccessed}})
Entry with no author
'Lucretia', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P063/ (Accessed {{dateAccessed}})

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