Provenance: private collection
This portrait was very probably painted in Wittenbergh, between 1525 and 1530, at the court of John, Elector of Saxony. It uses all the canons particular to the...
read moreProvenance: private collection
This portrait was very probably painted in Wittenbergh, between 1525 and 1530, at the court of John, Elector of Saxony. It uses all the canons particular to the specific style of this great artist who marked the history of German painting with his stamp.
The expressive power of the lines serves an almost lascivious aesthetic in which nothing is said but everything is suggested. The artist’s power of seduction resides in the use of the suggestive power of the sinuous line and the contrast of colours arranged in broad surfaces. The chromatic harmony between the clothing, in green and golden tones, and the porcelain flesh tint, give this young woman the appearance of a high-ranking lady.
“Beauty” was at the heart of Cranach’s artistic pursuits during this era. Although close to Luther’s theses, the painter did not shun the beauty of the world. On the contrary, he sought to unite the sensual with the spiritual. The artist endeavours to stylise this idea of “beauty” by creating an image of the perfect woman. He juxtaposes feelings which, at first sight, may seem irreconcilable. However, once painted side by side, they turn out to add a touch of magic to the painting. Cranach therefore manages to combine the timidity of a lowered forehead and the tact of a folded hand with an almond-shaped look or the almost ironic smile of a full-lipped mouth.
The clearly drawn face, is sublimated by a uniform light which stands out against a dark, opaque background. The flesh especially stands out owing to the presence of a fine gold chain necklace; a pretext for deliciously emphasising the bust and making the bodice gape. Delicate glacis and a perfect mastery of the colour allow the painter to play with the materials. The artist’s sophisticated taste for a certain virtuosity pushes him to freely portray the silky meshes of hair, the abundance of material embellished with pearls and the delicately worked jewellery. The dress resembles the one worn by the blonde model in the 15261 portrait in the Hermitage Museum, and her features clearly refer to the portrait of Judith exhibited in Vienna2.
We should also note the use of a rare and particularly remarkable element in our painting. The elliptical maroon velvet hat decorated with balls of feathers worn by the subject, is relatively comparable to the one article of clothing worn by Venus in the work in London’s National Gallery3. The unique shape and original ornamentation of this hat gives our portrait all its character, and adds the finishing touch to the beauty of the painting.
Can this type of painting, painted for the court, still be considered a real portrait? In light of Cranach’s development and his desire to achieve the ideal beauty, we are inclined to see here a portrayal of femininity idealised by one of the greatest masters in the history of art.
Kronach 1472 – Weimar 1553
Lucas Cranach was one of the pillars of artistic creation in the north-east of Germany during the first half of the 16th century. With Hans Holbein the Younger and...
read moreKronach 1472 – Weimar 1553
Lucas Cranach was one of the pillars of artistic creation in the north-east of Germany during the first half of the 16th century. With Hans Holbein the Younger and Albrecht Dürer, he is considered to be one of the main representatives of the German Renaissance.
Both a painter and engraver, and a friend of Martin Luther and numerous humanists, he successfully painted religious and mythological scenes, portraits and female nudes which he often identified with Lucretia or Venus. Until 1498, he studied with his father, Hans, who influenced the beginning of his career. He then travelled to Vienna, where it seems he settled in 1500.
The first known works of the artist date from this period; they are religious scenes whose vivid and expressive colours show proof of his creative power. In 1505, he became court painter for the Electors of Saxony. He decorated their castles, painted their portraits and those of their wives, executed altarpieces and also painted profane subjects. In 1508, Elector Frederick of Saxony granted Cranach his coat of arms with a winged serpent, which became the artist’s signature. His sons, Hans and Lucas the Younger, were among his assistants. Loyally imitating his style, they played a major role in the works produced by his studio.
Apart from a visit to the Netherlands in 1508, the master resided almost uninterruptedly in Wittenberg. As an important citizen, he sat on the town’s assembly in 1519 and acted as burgomaster in 1537 and 1540. Despite the numerous influences that marked his era, his work remained faithful to the gothic traditions.
