The Resurrection of Christ

The Resurrection of Christ

Title

The Resurrection of Christ

[Nadine Jaser, Exhib. Cat. Dessau 2015, No. 63]

Painting on wood

Medium

Painting on wood

[Nadine Jaser, Exhib. Cat. Dessau 2015, No. 63]

On numerous epitaphs by artists associated with the Cranach workshop the resurrection is the central subject. This panel depicts the Risen Christ standing on the lid of the sarcophagus with regal poise, his right hand raised in blessing and his head circumscribed with a faint halo. The final resting place

On numerous epitaphs by artists associated with the Cranach workshop the resurrection is the central subject. This panel depicts the Risen Christ standing on the lid of the sarcophagus with regal poise, his right hand raised in blessing and his head circumscribed with a faint halo. The final resting place is open and as such bears witness to his physical reawakening, the tomb is empty and death has been overcome. Both the red robe wafting gently about Christ and the vaguely indicated tools of martyrdom refer to the Passion. Even if only remotely they also recall his sacrifice and visualize certain Eucharistic thoughts. The banner with its glass rod is a trophy testifying to the triumphant victory over death.

[Nadine Jaser, Exhib. Cat. Dessau 2015, No. 63]

Attribution
Lucas Cranach the Younger

Attribution

Lucas Cranach the Younger

[Nadine Jaser, Exhib. Cat. Dessau 2015, No. 63]

Production dates
about 1550
1545 (?)

Production dates

about 1550

[Nadine Jaser, Exhib. Cat. Dessau 2015, no. 63]

1545 (?)

dated, third and fourth digit hardly ledigle, date probably not original [cda 2017]

Dimensions
Dimensions of support: 178 x 125 cm

Dimensions

  • Dimensions of support: 178 x 125 cm

  • [Nadine Jaser, Exhib. Cat. Dessau 2015, no. 63]

Signature / Dating

Artist's insignia at the centre right: serpent, facing left, between letters 'LC' and date '1545' (?) (third and fourth digit hardly ledigle), in black paint. Insignia and date probably not original.

Signature / Dating

  • Artist's insignia at the centre right: serpent, facing left, between letters 'LC' and date '1545' (?) (third and fourth digit hardly ledigle), in black paint. Insignia and date probably not original.

  • [cda 2017]

  • [cda 2016]

Owner
Private Collection
Repository
Private Collection
CDA ID
PRIVATE_NONE-P140
FR (1978) Nr.
FR-none
Persistent Link
https://lucascranach.org/en/PRIVATE_NONE-P140/

Provenance

Exhibitions

  • Dessau 2015, No. 63

Literature

Reference on page Catalogue Number Figure / Plate
Exhib. Cat. Dessau 2015 246-247 63
EditorNorbert Michels
TitleCranach in Anhalt. Vom alten zum neuen Glauben
Place of PublicationPetersberg
Year of Publication2015
Show Literature

Research History / Discussion

This epitaph exhibits all the characteristic traits of a work by Lucas Cranach the Younger: the execution, the underdrawing with a pen and the lack of blue tones (due to the use of smalt an unstable pigment that tends to fade) The signature with the serpent with elevated wings and the initials ‘L C’ has in this combination only been employed by Lucas Cranach the Elder for a short period (between 1508-1509), which is why the use of the initials in c. 1545 is unusual. Moreover, the insignia with the elevated wings had been changed to one with dropped wings by 1537/38. Identification of the donor family would help with a more precise dating of the panel.

[cda 2022]

  • The Resurrection of Christ, about 1550

Images

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Technical studies

2015Technologische Untersuchung / Naturwissenschaftliche Materialanalyse

  • Infrarot-Reflektografie
  • irr

Unterzeichnung

DESCRIPTION

Tools/Material:

- dry, black drawing material, dark chalk

Type/Ductus:

- freehand relatively loose and yet rather detailed underdrawing

- thin lines

Function:

- relatively binding for the final painted version; fine, loosely drawn lines; the lines delineate the main contours and describe details and facial features; no representation of volume with hatching-strokes

Deviations:

- various corrections to forms were made during the painting process as well as large changes for example the wall in the foreground, the donors and the lid of the sarcophagus were added during the painting process. This theory is supported by the diamond shaped label on the sarcophagus as well as the watchmen in the foreground that had already been executed in paint.

INTERPRETATION

Attribution:

- Lucas Cranach the Younger or workshop

[Sandner, Smith-Contini, Heydenreich, cda 2017]

Citing from the Cranach Digital Archive

Entry with author
<author's name>, 'The Resurrection of Christ', <title of document, data entry or image>. [<Date of document or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P140/ (Accessed {{dateAccessed}})
Entry with no author
'The Resurrection of Christ', <title of document, data entry or image>. [<Date of document, entry or image>], in: Cranach Digital Archive, https://lucascranach.org/en/PRIVATE_NONE-P140/ (Accessed {{dateAccessed}})

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