2017年5月29日星期一
Lucas Cranach the Elder
Lucas Cranach the Elder (probably around 4 October 1472 in Kronach, Oberfranken, 16 October 1553 in Weimar) was one of the most important German painters and graphic artists of the renaissance From 1505 he was court painter at the Saxon court under Friedrich the Wise, Johann the Stable and Johann Frederick the Magnanimous In addition to numerous altarpieces and allegorical paintings, he and his workshop also produced a large number of portraits of his employers as well as the reformers Martin Luther and Philipp Melanchthon. The Cranach workshop, which presumably left some 5,000 paintings, was by his son of the same name Lucas Cranach to the Younger
The chronicler Mathias Gunderam reported in 1556 that Cranach was born in Kronach on 4 October 1472 and received the first artistic training from his father, the well-to-do Kronacher citizen Hans Maler. Cranach's documentary evidence and his date of birth are not based on court records From the year 1495, which deals with the bad conduct of the painters' children, the year of birth is questioned in 1472 by the younger research, and only vaguely dated to "about 1475"
Cranach had at least six sisters and two brothers. Your mother Barbara died before 1495 After the first artistic training, Lucas had probably gone on a journey as a journeyman. He came to Vienna in 1502 and stayed there until 1504 Vienna because of the imperial court as a cultural center of that time He also made contact with numerous princes as potential contractors and employers. His paintings from this period show clear influences of the Donauschule. In Vienna, he made first contacts with leading humanists. During his stay in Vienna, Cranach began painting his pictures with Lucas Cranach ("Lucas [aus ] Kronach ")
In 1505 he received a position as court painter to the Elector Frederick the Wise of Saxony in Wittenberg. He took over the painting workshop in Wittenberg, formerly managed by Jacopo de 'Barbari, whose tasks were not only the furnishing of churches and castles with paintings, but also the creation of As well as trivial paintings, gildings and drafts of festive decorations and ornamentation. Impressive testimonies of the birthdays of medallion art in Germany are, for example, the so-called Locumtenenstaler with the portrait Friedrich the Wise, for which he supplied the design information desk
As a court painter, Cranach made numerous portraits of his brotherrn, first for the Nuremberg Dominican church in 1507
With effect from January 6, 1508, Cranach was given an emblem (with a winged snake with a ruby ring in the mouth) as a family coat of arms. In the same year, he was sent by diplomatic mandate to the Netherlands (Mechelen) The family - by Emperor Maximilian I and by the later emperor Karl V Porträts
In 1510, the city of Wittenberg mentions special payments from Lucas Moler for the first time. In addition, he acquired various building materials that year. It was concluded that he and the workshop moved from the castle to the city that year. In 1512/13, Cranach Barbara Brengbier † 1541), a daughter of Jobst Brengbier, the mayor of Gotha His eldest son Hans was born and 1515 Lucas, until 1520 three daughters around 1513 start of a wine shop In the years 1515 to 1520 he created first prints (woodcuts etc), the He was partially free - like Albrecht Dürer himself
In 1520 he was able to buy a pharmacy in Wittenberg. A few years later, he was also found as a bookseller, paper merchant and publisher. Together with his business partner, the goldsmith Christian Döring, he was responsible for the publishing of Martin Luther's September test Owner and publisher - a distinguished and influential personality in his new home country In 1524 he met Albrecht Dürer in Nuremberg; On this occasion Diirer made a silver pillar portrait of Cranach to Cranach first came to the Council chair of Wittenberg as a chamberlain in the office period 1519/1520, and subsequently exercised this office repeatedly until 1535. Furthermore, he belonged to the Council as a member in the office period 1528/1529
In Wittenberg he made a friendship with Philipp Melanchthon and Martin Luther. Together with his wife, he was 1525 in his marriage to Katharina von Bora and was godfather of Luther's eldest son Johannes The second wife of his son Lucas Magdalena Schurff was a niece of Philipp Melanchthon's Cranach Developed not only in the characteristic painter of the German Reformation, but also in the spiritual dispute of his time in his writings in reformatory writings. He was, however, active not only for reformist-minded clients, but also for Old Believers For Cardinal Albrecht's new church in Halle
After the death of Frederick the Wise, Cranach was occupied by his successors, John the Permanent, and Johann Friedrich the Magnanimous, as a court painter. In 1537 his two sons, Hans and Lucas d J, were also employed in the Cranach workshop Until 1544, Lucas Cranach was repeatedly the mayor at the head of the Wittenberg community, and also exercised the office of mayor's mayor as an old mayor
In 1547 his third employer, Duke Johann Friedrich the Magnanimous, was defeated by the imperial troops in the Battle of Miihlberg, and was imprisoned. At the request of Johann Friedrich, Cranach followed him three years later to captivity in Augsburg, then to Innsbruck Duke and his visitors-he had given his Wittenberg workshop to his son Lucas. In Augsburg he made the acquaintance of Titian
In 1552 Lucas Cranach the Elder went with the Duke to his new residence in Weimar. There he lived in the house of his daughter Barbara Cranach (the "Cranachhaus") He died on 16 October 1553
He found his last retirement at the Weimar Cemetery of Jacob On his gravestone, he was described as "the fastest painter". Cranach's friend, the ducal architect and learned stonemason Nikolaus Gromann The grave-plate which today's visitor sees is a faithful copy of the original The original engraving plate was replaced by a copy and in 1859 left for the city church Peter and Paul ("Herderkirche") to the left of the altar for conservative reasons
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Lucas Cranach is one of the most important artists of the early 16th century in Germany. Since 1505 he held the firm position as court painter of the Saxon electors, he also worked for Emperor Maximilian I, Albrecht of Brandenburg, Albrecht's brother Joachim I Nestor and his son Joachim II From Brandenburg, as well as for other high nobles and, at the same time, for his Protestant friends. Together with Albrecht Dürer and other important artists of the time, he received an honorable commission to illustrate Maximilian I's prayer book
In many of his works, the indirect influence of his great colleague in Nuremberg is, however, less than Dürer's search for classical Italian forms, but he remained within the bounds of the North Alps. He changed from the innovations of the Donauschule to low German traditions And allegorical nudes, which were completely new in German painting
The Cardinal Albrecht of Brandenburg and Martin Luther - between the artist Lucas Cranach, who made no secret of his sympathy for Luther and the Reformation, and although Cranach's graphics played a decisive role in the dissemination of the ideas of the Reformation (for the conflict between old-believing Catholics and Protestant Protestants) In 1522 Luther's translation of the Bible was published with the illustrations of Cranach), he worked with success for Catholic clients, especially for Albrecht of Brandenburg, or the Albertine Duke Georg the Bearded For the new church of Albrecht in his favorite hall the Cranach workshop was the most extensive Painting cycle of the German art history finished On the other hand, Cranach developed new themes for his Protestant clients, the concept of divine grace or the justification of the sinful man by faith in the central pu Nct
Even his contemporaries were stunned by the productivity of Cranach. After the pattern of Italian colleagues, he had built up a very well-organized workshop in which successful designs were picked up and used for later orders. For various princes and reformers' portraits, templates were used which were then used for years (Eg Georg the Bearded, Frederick the Wise, Martin Luther) have been adapted by altered beard lengths or graying hair. For altarpieces, numerous small-scale design drawings have been preserved, which could be exchanged in modular fashion when an altar was designed Apprentices and fellows were subject to strict discipline. This led to a standardized style which made it difficult to make a distinction between him, his sons and co-workers, and imitators
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It is thought that up to 5,000 paintings could have been created by the artist and his workshop. Museums, collections and the art market can still be seen in more than 1000 table paintings. The Weimar custodian Christian Schuchardt described in his three books between 1851 and 1871 A few hundred paintings by Gustav Parthey in his list of the painters of all the schools in Germany, who had been attributed to the older Cranach, as well as some 400 more works for the younger Cranach, both, or both Workshops and schools In 1932, about 850 paintings were compiled and commented by Max J Friedländer and Jakob Rosenberg (revised in 1979). Many individual plates, as long as they are not portraits or allegorical representations, were once parts of extensive altarpieces the But the largest number can only be found by documents. Some Cranach altars could be reconstructed completely (eg Magdalenenaltar) or fragmentarily (eg Prague altar)
Apart from panel paintings, there are also a large number of woodcuts, some 350 drawings and several copper engravings. The drawings were painted by Girshausen in 1936, Rosenberg in 1960, and Hofbauer in the last year. A comprehensive overview of the entire work was presented by Koepplin / Falk in the 1974/76 Basel catalog In addition, there are numerous publications on individual collections, eg a catalog of the approximately 80 drawings in Erlangen or a catalog of the Dresden Cranach collection. The Heidelberg University Library lists more than 2500 paintings in its Cranach catalog, a large part of which is for Cranach d Can be considered
The work of the older Cranach extends over a period of more than five decades. According to recent research, the portrait of a young man (pictured on the former Ten-D Markschein), which was formerly attributed to Albrecht Dürer, is one of the earliest works of Lucas Cranach from the time just before 1500 The last work is the altarpiece for the town church Weimar, which was begun by the older Cranach in 1552 and was completed by his son Lucas d J 1555
Works:
Portrait of a Saxon Prince (Possibly Johann, husband of Elizabeth of Hesse)
Portrait of a Saxon Princess (possibly George of Saxony's daughter-in-law Elizabeth of Hesse)
John Frederick I
Sibylle of Cleves, wife of John Frederick I
Johannes Cuspinian
Johannes Cuspinian's wife
Justice, 1537
Venus
Venus and Amor
Cupid complaining to Venus
Dorothea
A young man
Judith with the head of Holofernes
Samson's Fight with the Lion, 1525
Phyllis and Aristotle, 1530
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