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The bottom half of the painting is crowded with figures, all symbolically arranged to the left and the right of Christ. On the right is the Virgin Mary, who is held by John the Evangelist, and Mary Magdalene is holding onto the Cross. The Good Thief and Longinus gaze directly at him, alluding to their salvation.
Law and Gospel (1529) by the Lutheran painter Lucas Cranach the Elder is the earliest painting of this type, [4] painted in different versions, and turned into a woodcut. Several share a similar composition, divided vertically into two by a tree, also found in many polemical prints; typically there is a good side and a bad side.
The Paintings of Lucas Cranach. New York: Tabard Press. ISBN 0-914427-31-8. Nikulin, N (1976) Lucas Cranach, Masters Of World Painting, Aurora Art Publishers, Leningrad; Schade, Werner (1980) Cranach, a Family of Master Painters (translated from the German by Helen Sebba) Putnam, New York, ISBN 0-399-11831-4
Lucas Cranach the Elder, Law and Gospel, Herzogliches Museum, Gotha, Germany. 82.2 cm × 118 cm (32.4 in × 46.5 in). Law and Gospel (or Law and Grace) is one of a number of thematically linked, allegorical panel paintings by Lucas Cranach the Elder from about 1529.
Wittenberg Cranach Altarpiece (or Reformation Altarpiece) is one of the major Lutheran winged altarpieces created by Lucas Cranach the Elder and his son Lucas Cranach the Younger for the Evangelical Lutheran City and Parish Church of St. Mary's in Wittenberg, Germany.
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 ...
The Cardiff-born artist’s other pieces for The Reign include portraits of Mary I, Mary of Austria, Henry VI, and Anglo-Saxon king Athelstan, who ruled from 927 until his death in 939.
The reason for this could have been the betrothal of his granddaughter Mary to Louis II of Hungary, the engagement of Ferdinand I and Anna Jagiellon (1515) or the coronation of Mary of Habsburg as Queen of Bohemia (1522). A hundred years later, in 1619, the altarpiece fell victim to Calvinist iconoclasm. The figures of the female saints were ...