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DOI Artikel:Steinborn, Bożena: The triumph of David in the Silesian Museum: another copy of Lucas van Leyden's Work
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18817#0026
is composed in a quite different way (city walls, the tower) as well as the figures on the riglit.
Except for the picture from the Hague the man in a stylish hat who is turned away from
David does not appear.
The colouring of the Triumph of David in the Silesian Museum differs from the other
eopies or replicas — as far as one can judge from descriptions. The pictures in the Reijerse collec-
tion, unknown private collection, and the Arie collection (no 9, 5 and 1 in the table) show Michol
in a dark-blue or dark-green coat, whereas Michol from Cranach's studio is cladin a vivid cinnabar
coat. This is probably in connection with the mentioned historized conception defining the singer
as the royal daughter. The figurę of the girl with a wreath is kept in light tones, her dress which
is white on other pictures, is painted as light yellow, toned with rouge what makes an interesting
effect; only the train has remained white. The dress of the lute player which is yellow in other
pictures has the colouring of light rose rouge. Modelled with a light blue tone and radiant white
(one can suppose it was interesting originally). The colour arrangement of the two mentioned
figures and particularly the introduction of that typically light blue tone42 incline one to a rather
loose supposition that the copyist had seen the original work of Lucas van Leyden. The use of
pink underpainting not used outside Cranachs' studio seems to support this supposition.'13
Nothing is known about any stay in the Netherlands of Cranach the Younger, only W. Schade
expresses the opinion of the possible contact of the artist with Netherlandish painting.44
Summing up one can say that the picture in the Silesian Museum was painted in Cranach's
workshop about the middle of the century and the authorship of Lucas Cranach the Younger can
not be excluded. The picture had as its model either an unknown hitherto engraving with no-
ninverted composition or an unknown to day, perhaps original, work of Lucas van Leyden.
(Translated by Zbigniew Filipowicz)
42. Beets, op. cit., p. 288, gives a very impressive descripticn of the cliaracteristic light in Lucas van Leyden's pictures com-
paring it to the light of an acetylene lamp.
43. Cf. footnote 36.
44. W. Schade, AUdeutsche Zeichnungerf, the Catalogue of the Exhibitu n, Diesden, 1963, p. 36, No 83.
Except for the picture from the Hague the man in a stylish hat who is turned away from
David does not appear.
The colouring of the Triumph of David in the Silesian Museum differs from the other
eopies or replicas — as far as one can judge from descriptions. The pictures in the Reijerse collec-
tion, unknown private collection, and the Arie collection (no 9, 5 and 1 in the table) show Michol
in a dark-blue or dark-green coat, whereas Michol from Cranach's studio is cladin a vivid cinnabar
coat. This is probably in connection with the mentioned historized conception defining the singer
as the royal daughter. The figurę of the girl with a wreath is kept in light tones, her dress which
is white on other pictures, is painted as light yellow, toned with rouge what makes an interesting
effect; only the train has remained white. The dress of the lute player which is yellow in other
pictures has the colouring of light rose rouge. Modelled with a light blue tone and radiant white
(one can suppose it was interesting originally). The colour arrangement of the two mentioned
figures and particularly the introduction of that typically light blue tone42 incline one to a rather
loose supposition that the copyist had seen the original work of Lucas van Leyden. The use of
pink underpainting not used outside Cranachs' studio seems to support this supposition.'13
Nothing is known about any stay in the Netherlands of Cranach the Younger, only W. Schade
expresses the opinion of the possible contact of the artist with Netherlandish painting.44
Summing up one can say that the picture in the Silesian Museum was painted in Cranach's
workshop about the middle of the century and the authorship of Lucas Cranach the Younger can
not be excluded. The picture had as its model either an unknown hitherto engraving with no-
ninverted composition or an unknown to day, perhaps original, work of Lucas van Leyden.
(Translated by Zbigniew Filipowicz)
42. Beets, op. cit., p. 288, gives a very impressive descripticn of the cliaracteristic light in Lucas van Leyden's pictures com-
paring it to the light of an acetylene lamp.
43. Cf. footnote 36.
44. W. Schade, AUdeutsche Zeichnungerf, the Catalogue of the Exhibitu n, Diesden, 1963, p. 36, No 83.