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Signature of Cranach the Elder from 1508 on a winged snake with ruby ring, depicted in a 1514 portrait. He was born at Kronach in upper Franconia (now central Germany), probably in 1472.
Made and painted by Lucas Cranach the Elder, the painting depicts Jesus Christ with children, based on the New Testament verse "Suffer the little children to come unto me, and forbid them not: for of such is the kingdom of God" (Mark 10:14); a popular subject of Protestant iconography in line with the Lutheran teachings of Sola gratia and Sola Fide; salvation by grace through faith, a theme ...
Lucas Cranach the Elder: Lucretia ; Artist: Lucas Cranach the Elder (1472–1553) Alternative names: Lucas Cranach. Description-German painter, drawer, printmaker and ...
Joseph is standing over them holding a candle, but the main light source is coming from the crib. The Child lies on a bed of hay that matches his Mother's halo, surrounded by winged cherubs. In the upper left of the frame, a vista to a moonlit landscape reveals on closer inspection to be a scene of the Annunciation to the shepherds with Gabriel ...
Cranach probably drew on input from his lifelong friend Martin Luther when designing these panels, which illustrate the Protestant concept of Law and Gospel. The earliest forms of the picture are the panels in Gotha, Germany and the National Gallery in Prague; the Gotha panel is thought to be later. The paintings were the basis for many similar ...
The museum had bought the painting, attributed to German Renaissance master Lucas Cranach the Elder and Workshop, from a New York g Pennsylvania museum to sell painting in settlement with heirs of ...
After the bombing of Schneeberg on April 19, 1945, the altarpiece was rescued from the already burning church by many volunteers. Until 1969, some of the paintings were hung in the Trinity Church. After an extensive restoration, the double-opening winged altar can now be viewed in the form intended by Cranach. [3]
Unusually, Lucas Cranach signed and dated the painting in Latin: LUCAS CHRONUS/FACIEBAT/ANNO 1509, visible in the notice hanging on one of the central columns. It is suggested that the choice and treatment of the subject shows that he knew the St Anne altarpiece by Quinten Metsys while still in the master's Antwerp studio.