Georg Pencz

Monogrammed and dated "GP 33" (top centre)

Provenance:

(Probably)  Prince John Frederick I, Elector of Saxony.

Tollemache Estate Collection, Peckforton Castle, England.

Christie’s, London...

Monogrammed and dated "GP 33" (top centre)

Provenance:

(Probably)  Prince John Frederick I, Elector of Saxony.

Tollemache Estate Collection, Peckforton Castle, England.

Christie’s, London 15.05.53, lot 139;

The North Carolina Museum of Art.

For his Portrait of Martin Luther, Georg Pencz openly draws inspiration from the famous painting by Lucas Cranach. Starting in the 1520s, the work of this accredited portraitist and friend of the theologian was copied for many years. Painting his portrait in 1533, Pencz seems to take inspiration from the matching piece of Luther and his wife Katharina von Bora painted in 1528, versions of which are kept in the museums of Weimar and Darmstadt.

However, this portrait assumes a very personal touch. Usually of great austerity, the image of the reformer conveys a certain intimacy here, probably accentuated by the warm tones used for the model’s face. The detail of the shadow, which is absent from Cranach’s work, gives the portrait a remarkable power and emphasises the magnificence of one of the most influential men of the 16^th century.  Historically, Martin Luther, doctor in theology at the University of Wittenberg, is considered as one of the most outstanding men of his century. It was upon reading Paul’s epistle to the Romans that this reader and commentator of the bible acquired the conviction that divine love is free. This led him to write his famous 95 Theses against indulgences, which he stuck on the door of the church in Wittenberg in 1517. He was excommunicated in 1521 and welcomed by the Elector of Saxony at Wartburg Castle, where he was able to write his best-known and most widely distributed texts.

The components of this type of portrait with its three-quarter pose, dark clothing and doctoral cap, became characteristic in the portrayal of the theologian. They are the symbols of the Reformation, as well as bearing witness to the period of power of this Augustinian monk at the origin of the movement that spread like wildfire in Germany and Europe. Here, it isn’t simply a question of a portrait that bears witness to the beginning of the Reformation; it is also an invitation to reflect upon Georg Pencz’ style.

Georg Pencz was often asked to paint portraits of the influential men of his era, which had been painted by other German Renaissance artists. Hence, there are copies of portraits after the works of Albrecht Dürer, such as the portraits of Emperor Charlemagne and Emperor Sigismund I. These paintings were executed for John the Magnanimous, Elector of Saxony, and it is quite likely that this portrait of Martin Luther was also for this sponsor. This portrait dated 1533 was indeed painted the same year as the paintings commissioned by the Elector of Saxony. In general, the copies painted by Pencz are larger in size; furthermore, this multi-facetted artist knew how to impose his own style. The sculptural nature of this portrait and its naturalistic aspect emphasises the fact that we are dealing with one of the greatest 16^th century portraitists. He recreates the image of the reformer who appears as an icon and imposes his power, and whose presence cannot be denied. Our monogrammed painting, bearing the inscription GP ’33, bears witness to a key era of the Renaissance and will undoubtedly seduce the greatest enthusiasts of historical portraits.

Ca. 1500 – 1550

The German painter and engraver, Georg Pencz, is mentioned as a “Burgher of Nuremberg” in 1523, but it is highly unlikely that he was actually born there. We know that Pencz...