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Portrait of Lucas Cranach the Elder Lucas Cranach the Younger About 1550, hidden in the Uffizi Gallery Galleria Uffizi Born in the small German town of Franconie in 1472 In 1504, he was summoned by Saxons elector Friedrich III and came to W

Exaggeration and irony of Lucas Cranach the Elder

2018-11-18 09:35  /  Tags:   /  Writer:ukrothschild  /  

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«Portrait of Lucas Cranach the Elder» Lucas Cranach the Younger
 
About 1550, hidden in the Uffizi Gallery © Galleria Uffizi
 
Born in the small German town of Franconie in 1472
 
In 1504, he was summoned by Saxon's elector Friedrich III and came to Wittenberg the following year as a court painter.
 
In 1553, died in Weimar (Weimar)

  Lucas Cranach l’Ancien is a German Renaissance painter who often paints portraits, religious paintings and landscape paintings. He is also a printmaker who specializes in etching prints. Old Cranach has long served the Holy Spirit of the Roman Empire, and fame and fortune. The initial style is reflected in the performance of the picture, relatively "bold and profound"; the maturity of the mature period has created a lot of mythological themes of painting; while the later period is more convergent: become fine, but the image appears More abstract. In addition, due to the large number of customers, the old Cranach had to open a workshop.
 
  In 1504, he was invited to Wittenberg, Germany, to serve Saxony's electorate: Friedrich III. This man, known as the wise man Frederick's electorate, is also the sponsor of Dürer. At this time, the old Cranacher gradually abandoned the "light" style of the young, tends to be flat, and has become more likable, and the composition is simple and powerful. Since the skill of the old Cranach is recognized by the electors, he has served the three sacred gods of the Roman Empire in his life: Friedrich III, John Le Constantine, John Friedrich Greek I. He served as mayor in 1537 and 1540.

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«John Frédéric le Magnanime»
 
H. : 0,51 m. ; L. : 0,35 m hidden in the Louvre Museum
 
You can see the works in the Le Richelieu, the third floor, the 810 exhibition hall.
 
© 2011 Musée du Louvre / Martine Beck-Coppola INV.1184
 
  The characters in his writings often have exaggerated and ironic expressions, and the figure is not tall, and the woman is particularly petite. The protagonist in his portraits is always given a sense of nobleness and wisdom. In the paintings of people, his composition is also very bold. The proportion of the characters can be said to be "disordered" compared with the size of the painting. Unlike other artists, his characters occupy a large picture, like a "giant."
 

3


«Vénus debout dans un paysage»
 
Created in 1529 H : 0,38 m. ; L. : 0,25 m
 
Hidden in the Louvre Museum, you can see the works in the Richelieu, 3rd floor, 810 exhibition hall.
 
© 2011 Musée du Louvre / Martine Beck-Coppola INV. 1180

Facing the viewer is the Venus goddess wrapped in transparent gauze. Unlike the ancient Greek god-like expression, Venus depicted by Old Cranach has a petite body, ordinary and harmonious facial features and alternative accessories.
 
Like his colleagues, he was influenced by Italian orthodoxism. When interpreting Venus, she regarded her graceful form as a beautiful statement: the beauty of form and the beauty of morality. Porcelain-like skin is white and shiny. At this time, the essence of the gods is beautiful, but the beauty is sacred, but it is also illusory. The wide red hat is like a finishing touch, which sublimates the beauty of Venus, restrained and delicate; red as a complementary color of green, can also make Venus's head stand out from the background.

 

4
 


The Gothic town on the lower right is the old Cranach-style Danube (the paintings are composed of painters living along the Danube, who poetically interpret nature): the walls, churches and reflections of the lake Like a fairyland, beauty seems to have an independent life. Brightly colored dots show the building and the scenery that is exposed to light. The details of the scenery are unambiguous, complex and detailed.
 
The mythical theme, the nude Venus is a common theme in the German Renaissance. These emerging hot buying themes were also a great vehicle for humanism to use to spread ideas. The mythical insinuation and the moral concept involved in the naked goddess are powerful visual drugs. They show the teachings through popularly recognized paintings and leave a deep impression on the viewers.
 

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In addition, on the ground of the painting, in these stone, the mark of the old Cranach and its workshops is marked: the painter's syllabary abbreviated signature and the dragon with the lamb's wings.
 

Another painting about the goddess

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«Les Trois Grâces»
 
Created in 1531 H. : 0,36 m. ; L. : 0,24 m
 
You can see the works in the Le Richelieu, the third floor, the 810 exhibition hall.
 
© 2011 Musée du Louvre / Martine Beck-Coppola


Paintings of this type are particularly popular during the reign of Saxony's electorate, Jean Le Constant.
 
Old Lucas Cranach and the humanist people in Vienna also have frequent contacts. He is a good friend with the religious reform leaders Martin Luther and Philipp Melanchthon. Luther's portraits are mostly created by the old Cranach, and many of the Lutheran propaganda works are also from the hands of the old Cranach.
 
He also painted animals, such as the moose figure hidden in the Louvre.

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«An elk, extended limbs, and a deer head»
 
( Une biche morte, les quatre membres étendus et une tête de biche)
 
H. : 20.2 cm. ; L. : 28.4 cm.
 
Hidden in the Louvre Museum, non-exhibited works
 
© RMN-Grand Palais (musée du Louvre) / Thierry Le Mage RF 3894
 
Such a detailed depiction is likely to be the result of on-site copying. The dead deer with their eyes rounded down, the body has become hard, the limbs are stiff and straight, the ears are standing up, the coat is dark, and the shape is like a lament, grief and powerlessness.
 
The theme of the animal is related to the hunting habits of the royal family. It is very important to accurately depict animals, they may appear in the hunting map of the singer ruler family. The royal painter also needs to be accompanied by the emperor. When hunting, he will carry a portable drawing board to depict the hunting scene and the characters and prey.
 
Old Cranach used to use gouache and watercolor to paint animals, and sometimes he used feather pens and inks to try to express his ideology.

 
Appreciation of prints


8


«Behind the St. John the Baptist John»
 
(La Décollation de Saint Jean-Baptiste)
 
© RMN-Grand Palais (musée du Louvre) / Tony Querrec
 
 
9

«Jesus and Samaritan»
 
(Jésus et la Samaritaine)
 
© RMN-Grand Palais (musée du Louvre) / Tony Querrec


 

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