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{PDF EPUB} Early Netherlandish and German Paintings by Alistair Smith Early Netherlandish and German Paintings by Alistair Smith Read Ebook {PDF EPUB} Early Netherlandish and German Paintings by Alistair Smith Early Netherlandish and German Paintings by Alistair Smith. Lucas Cranach the Elder. The National Gallery, London. Object creator: Lucas Cranach the Elder. Object title / description: Portrait of a Woman. Object date: about 1525. File type / description: Digital image. Image / document description: Overall. Image date: 2005-07. Image created by / rights / credit: The National Gallery, London. Image source: The National Gallery, London. Citing from the Cranach Digital Archive. Entry with author: <author's name> <title of object, Inventory number, title of document or image>. <Name of Database> <<URL>> <date of document> (Accessed <date accessed>) Example: Karl Schütz, 'The Crucifixion of Christ', AT_KHM_GG6905, Interpretation. In: Cranach Digital Archive <http://www.lucascranach.org/digitalarchive.php> 01.01.2005 (Accessed: 21.10.2011) Entry with no author: <title of object, Inventory number, title of document or image>. <Name of Database> <<UR>> <date of document> (Accessed <date accessed>) Example: The Martyrdom of St Catherine, HU_HCBC, Description. In: Cranach Digital Archive <http://www.lucascranach.org/digitalarchive.php> (Accessed: 21.10.2011) Have some extra information about this object? Noticed a mistake? Please contact us. CDA ID / Inventory Number UK_NGL_291 Persistent Link https://lucascranach.org/UK_NGL_291 FR (1978) No. FR172. Portrait of a Woman [The National Gallery, revised 2011] Lucas Cranach the Elder [The National Gallery, revised 2011] about 1525 [The National Gallery, revised 2011] Owner The National Gallery, London Repository The National Gallery, London Location London. - the painting was in the collection of John Talbot, 16th Earl of Shrewsbury (1791-1852), at Alton Abbey, later Alton Towers, by 1835.[1] (According to the NG MS catalogue the picture was previously in a Nuremberg collection.[2] The Earl of Shrewsbury probably acquired it from Friedrich Campe of Nuremberg (1777-1846), a bookseller and publisher. Campe, who collected early Northern European paintings (including the portraits by Robert Campin, NG653.1 and 653.2), sold a picture named as a Van Eyck to the earl in 1829 to finance his journey to England, but the Cranach is not recorded in his possession.[3] - Earl of Shrewsbury Sale, Alton Towers, 8th July (3rd day) 1857, lot 259, bought for the National Gallery [4] [1] [Waagen 1838, vol. III, 259-60], recording his visit in 1835: 'A Female portrait, half the size of life; remarkably careful in the execution and in a very warm tone'; [Alton 1850, 21], 'Lucas Cranach - A Female portrait'. [2] The NG MS catalogue states that the picture was 'formerly in the possession of a family at Nuremberg from whom it was obtained by the late Earl of Shrewsbury'. As Levey noted (Levey 1959, p. 19), if the the Earl of Shrewsbury's picture came from the Campe collection, it is unlikely to be identical to the picture in the Ottley sale in London on 25 May 1811 (9, Cranach): 'it is probable that this is the Portrait of a Princess of Saxony', a provenance proposed in the 1929 catalogue. [3] [Passavant 1836, vol. II, 81] (referring to paintings by Van Eyck and Memling): 'The Earl purchased the two last-mentioned pictures from Mr Campe, of Nurnberg'. The painting named as a Van Eyck was sold to Shrewsbury by Campe in 1829 to finance his journey to England: see [Reynot 1962, 35]. The Cranach might have been sold at this time also, or on the London visit, but there are no records of it being in Campe's collection; it is not included in Umrisse zu Oelgemaelden aus der Dr. Fr. Campe'schen Sammlung . n.d., which contains 18 line engravings of paintings in Campe's collection, among which are three works by Cranach. [4]National Gallery Minutes of Board Meetings in the National Gallery Archive: 1st June 1857: 'Read a Report from the Director (Charles Eastlake), dated 1st June 1857, recommending that at the sale of the Alton Towers Collection the sum of £150 should be offered for No.269, the Virgin and Child with heads of two angels below; an early work of Raffaellino del Garbo. And that the sum of £80 should be offered for no.259, a small portrait of a lady, by Lucas Cranach. ' These purchases, at the prices named, were approved. 30th July 1857: 'Referring to the recommendation recorded in the minutes of a former meeting, and since sanctioned by the Treasury, that two pictures should be purchased at the sale of the Alton Towers Collection, at, or within prices named, the Director reported that one of the pictures, no.259, a small portrait of a lady by Lucas Cranach, had been purchased for the sum of £50"8".' File - NG5/227/1857: Contains the Director's Report on the Alton Towers Collection. On the Cranach, 'For this very agreeable specimen of the master I recommend that £80 should be bid.' [The National Gallery, revised 2016] Similar Motifs: PRIVATE_NONE-P152 Portrait of a Young Lady Private Collection DE_SGS_L796 Roundel Portrait of a Young Woman Staatsgalerie Stuttgart DK_SMK_DEP4 Portrait of a young woman. Princess Emilia of Saxony? Statens Museum for Kunst, Copenhagen US_WAM_37-269 Mary Magdalene (?) The Walters Art Museum, Baltimore (Maryland) Date: 08. 2013 Scientific analysis Micro-sampling / cross-sections Instrumental material analysis. Very well preserved panel, canvas lined on the back which extends up the sides. Consequently there is a wax-resin mixture which has penetrated the edges and unfortunately this is the only place for sampling. Sample site: Dark red shadow of skirt pleat, bottom edge. Analysis methods: GC-MS/FTIR. FTIR-microscopy: Thin red glaze over black. Very small, - flakes of transparent red, black and a very yellow ground. The thin red is a lake on alumina, oil bound but there does appear to be some protein present. The FSD trace (and 2nd derivative) show – amide bands at 1645 (1650; 1659) and 1542 (1559; 1542). Traces of chalk, no wax. Are the blacks in Cranachs inorganic or organic? There are no phosphate bands, there are weak calcite type chalk bands, and much of the ill- resolved fingerprint region has weak derivatives. There is the possibility of some red lake being included as this is very difficult to see amongst the black. There does appear to be some protein – 3300; overtone at 3058; 1635; 1650; 1557; 1542. Also oil – CH stretches; C=O at 1704-1770. Some yellow/white paint in this sample gives a spectrum of gypsum with protein – is this ground? NB. DP – 1320 cm-1 suggests presence of oxalate rather than protein [DP; August 2013] GC-MS: The paint medium was identified as linseed oil [A/P 1.3; P/S 1.4; A/Sub 6.8] Inorg2B: Red lake, possibly madder. ATR (not priority) examined by: The National Gallery, London. Date: 15.11.2010 Technical examination / Scientific analysis X-radiography. created by: The National Gallery, London. Date: 02.02.1995 Technical examination / Scientific analysis Micro-sampling / cross-sections. CDA ID/Inventory No.: UK_NGL_291. Object No: FR172 Cross-section No.: Brief description of paint: black paint of background. Sample location: lower edge. Sample No.: 1 Methods: microscopy, EDX. - black paint layer. examined by: The National Gallery, London. Date: 02.02.1995 Technical examination / Scientific analysis Micro-sampling / cross-sections. CDA ID/Inventory No.: UK_NGL_291 Object No: FR172 Cross-section No.: Brief description of paint: bright red highlight of dress Sample location: bottom edge Sample No.: 2a Methods: microscopy. examined by: The National Gallery, London. Date: 02.02.1995 Technical examination / Scientific analysis Micro-sampling / cross-sections. CDA ID/Inventory No.: UK_NGL_291 Object No: FR172 Cross-section No.: Brief description of paint: dark brownish-red shadow of dress Sample location: bottom edge Sample No.: 3 Methods: microscopy. examined by: The National Gallery, London. Date: 02.02.1995 Technical examination / Scientific analysis Micro-sampling / cross-sections. CDA ID/Inventory No.: UK_NGL_291 Object No: FR172 Cross-section No.: Brief description of paint: bright red highlight of dress Sample location: bottom edge Sample No.: 2b Methods: microscopy. Jan van Eyck - Biography and Legacy. Jan van Eyck was born in the small town of Maaseyck, then known as Eyck, near a bend of the river Maas about 14 miles from Maastricht, the provincial capital of modern-day Limburg. The history of the region can be traced back to the Roman Empire era, and later grew into a religious center during the early medieval period. Notably, the nearby district of Aldeneik traces its history back to the early eighth century, with the founding of the Aldeneik Abbey by two sisters from a noble landowning family who had been educated at a Benedictine Abbey in Valenciennes. Few details are known of van Eyck's childhood, including the artist's exact year of birth, which most scholars date between the years 1385 and 1395. He is commonly believed to be the younger brother of Hubert (also: Huybrecht), with additional siblings Lambert (or Lambrecht) and Margaret, all of whom are identified as painters. Hubert is theorized to have taken charge of Jan's artistic education and made him his younger "disciple" at his home in Ghent. Because little was written of Hubert during his life, he died in 1426 before the completion of the Ghent Altarpiece , his role as an artist and relationship with Jan remains a point of contention among historians. The younger brother, Lambert, is mentioned in later court documents and believed by some to have taken charge of Jan van Eyck's workshop after the death of his brother. Early Period. Although van Eyck is considered among the greatest masters of European art history, continued debate around the biography of the artist and even the authorship of some of his works abounds.
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