Crucifixions and Altarpieces. Cranach’s Protestant leanings.
written by Jordan M. Groll
Lucas Cranach, the Elder, was an influential German painter and illustrator during the Protestant Reformation. [1] When examining Cranach’s artworks, a question that arises is, did Cranach’s later works resemble that of Catholic traditions or did his Protestant learning from Luther change his style? Since the Protestant Reformation began, where he lived and worked, what else was to he to paint? Protestants did not want altarpieces or images in their churches as he was used to painting for Catholics. [2] According to Luther, a crucifix is not forbidden as long as long as you “do not worship them but only have them as memories” (Matthews 25). Did Cranach want to continue to paint Catholic themes, but change how he depicted Jesus’ crucifixion to create the need for Protestant altarpieces? By focusing on his works with depictions of crucifixions, you will see a change from his early years to his later works. It’s important for us to pursue the evolution of his painting style because it gives us insight into a period of history in which the Protestant Reformation had an impact on the world.
The first painting I found in which Cranach depicted a crucifixion is Golgotha dated somewhere before 1502 (Stepanov 9). [3] [Shown to the right] In this work Cranach depicted Christ crucified on the cross in the center of the painting. Next to Christ are the other two sinners who have also been crucified. Christ is beaten and bruised with blood dripping down his body, emphasizing his suffering and mutilation (Matthews 30). The other two sinners are also beaten, but not to the extent that Christ has been. Christ is depicted as looking down to the saints in the left corner (i.e. to his right hand). An important point to this painting is that Cranach depicted saints and also painted halos above them to distinguish them as saints. The prominence of saints and/or halos are a traditional Catholic depiction, and we see in his later work how he changes this Catholic emphasize on saints. [4] We should also keep in mind how Christ is depicted as we continue to look at his future works. Is he beaten and bloody or does that change? According to Matthews, this painting “was completed prior to Cranach’s close association with Luther” (29).
In 1503, a year or so after Cranach painted Golgotha, he painted another Crucifixion painting (Stepanov 21). [Shown to the left] In this painting Christ and the other two sinners are beaten as before but what has changed in this painting is that Christ is now pulled off to the right side and the other crucified are depicted on the other side. Mary and Saint John are depicted in the center of the painting continuing the theory of the prominence of saints in his early works. Christ not being centered seems to bring more importance and emphasize to the saints. We also continue to see Christ beaten.In 1517 Martin Luther nailed his 95 Theses on the Castle Church door in Wittenberg where Cranach lived and worked (Schjeldahl). Around this time Cranach met Luther and became great friends. [5] It is at this point that you start to see a change in his style. [6] One scholar says that he didn’t even have to wait for Luther’s preaching before turning Protestant. It was in his blood, and as Luther preached, it continued to grow (Stepanov 77). This emphasizes Cranach’s dedication to the Lutheran theology.
The next major work, that sets the stage for his change is the Law and the Gospel from around 1529. [7] [Shown to the right] This work is split into two different views by a tree. A Catholic side on the left (also know as the sinister side) and a Protestant side on the right (the righteous side). On the Catholic side, the Old Testament is referenced with Adam and Eve sinning, and Moses reading his Ten Commandments. Cranach is depicting that the sinner being judged is going to be sent to hell. On the Protestant side we have Christ crucified showering the sinner with blood to represent God’s Grace, illustrating Luther’s idea that salvation is for all believers. (Noble 35). According to Luther’s theology, “Life lived with knowledge and acceptance of Christ [being] crucified is saved” (Matthews 28). With this in mind Cranach can use this idea of acceptance and knowledge of Christ’s crucifixion to create his Protestant altarpieces. Brinkmann states that Cranach wasn’t the first to create this concept he just took an existing illustration and changed what he needed to match the Lutheran doctrine, making it fit the need (208).
Cranach paints another Crucifixion, in 1532, which starts to portray his Protestant learnings from Luther. [Shown to the left] Examining this painting we see that the saints are no longer the focus of the painting, neither do we see the halos found in his early works. Luther concluded, “the saints supported the church’s false promise of intercession” and would not want them in Protestant art (Koerner 27). Christ is now brought to the center of the attention rising above everyone in the picture, into the clouds (R, D. C). This gives the importance of the acceptance of Christ’s crucifixion as quoted in the previous paragraph. Cranach painted a Monk, Cardinal, and a Turk all behind the cross to depict them as the unenlightened ones ("European Painting”). This is showing that putting faith in these people rather than in Christ is wrong, an important point in Luther’s theology. Christ is also not shown beaten or bloody as in prior works. [8] According to Matthews, “Cranach replaced the image of a physically tortured Christ with one deemed more appropriate for a Reformation iconography” (31). This idea is continued throughout his next crucifixions. D. C. R., an author of the Bulletin of the Art Institute of Chicago states this “represents Protestant painting at its height, and shows Lucas Cranach’s considerable powers.”
In 1538, Cranach did another Crucifixion very similar to the 1532 one. [Shown to the right] In this version Cranach paints a father and son pointing at the cross, showing Reformation ideas that religion should be available to all, including children ("Lucas Cranach, the Elder."). Merback states, “these images, along with the documentary evidence, suggest the expanded contours of a disciplinary sphere for children that was mapped across the social spaces of home, school, and civic and religious life.” He also sees, psychologically, that suffering was a way to condition the young children into believing. In the gospels it states, “whosever shall not receive the kingdom of God as a little child, he shall not enter therein”, showing the importance of children with God. [9] Around this time Cranach painted Christ blessing the Children which also emphasizes the children's importance ("The pictorial”). Gone in the crucifixion painting are the traditional Catholic depiction of saints with halos. Continuing the Lutheran idea that salvation is from God’s grace, which is illustrated in his Law and the Gospel, Cranach painted a converted Roman commander at the foot of the cross. ("Lucas Cranach, the Elder."). 
After his change of how he depicted the crucifixion, Cranach was commissioned to create an altarpiece for Protestant use. [Shown to the left] In 1539 he created what is believed to be the first Lutheran retable, the Schneeberg Altarpiece. (Noble 67). Even though the altarpiece shares the traditional Catholic form, which Cranach knew best, it has Lutheran iconography and follows the idea of the Law and the Gospel. Noble states, “The pictorial shift from Law and Gospel to the Crucifixion demonstrates the relationship between the initial and critical acceptance of faith to participate in Lutheran sacrament and the blood and body of the Eucharist” (84). The altarpiece shares much of the same iconography as his 1530’s crucifixions. When comparing this crucifixion to Cranach’s 1502 Crucifixion, Matthews states, “the Christ figure in this Crucifixion scene, a type made popular by the reformers, is a conscious replacement of the mutilated, bleeding Christ of the Vienna panel” (33). To the right of Christ, Mary and other women cry and to his sinister left a group of men fight (Noble 85). This is also seen in his 1538 Crucifixion.The Schneeberg Altarpiece is composed like the Law and Gospel creating tension between the two groups of people. The converted Roman solider on his righteous side coincides with the one who doesn’t believe or recognize Christ on the left. Faith in Christ separates them. Noble states, “Just as the Law and Gospel calls upon the viewer to follow the example of the saved sinner, the Schneeberg Crucifixion asks the viewer to model her- or himself on the Marys, Longinus, and the good thief by comparing their salvation to the evident sin on the opposite side”. This is said to create a Lutheran image out of typical Catholic idea. (Noble 85).
Cranach’s last completed altarpiece is his Wittenberg Altarpiece of 1547. [Shown to the right] In this altarpiece, on the bottom panel, Cranach depicts Luther preaching the gospel to his followers. Between Luther and his followers is Christ’ crucifix. Again, as seen from Cranach’s 1530‘s crucifixion paintings, Christ is not depicted as being beaten or mutilated, a concept seen in his early Catholic works. Christ appears to be living and even in speech. [10] This idea shows Luther’s theology that Christ is always there whenever the gospel is being preached correctly (Noble 118). Luther is standing at a pulpit with his left hand on an open book of scripture and with his right hand he is making a gesture to the crucifix (Edwards). The congregation responds in prayer. Edwards sees the crucifix of Christ, which stands between them, almost within quotation marks. It represents the message that is being taken from the scripture, as Luther insisted which always refers to Christ crucified. He uses an example of how newscasts show campaign commercials in fake TV sets because it distances the viewer from the image. This is meant to show that the image is to be seen as only an image and not as reality.
According to Noble, scholars even identify some of the congregation as Luther’s and Cranach’s family (Noble 113). Koerner sees the preaching occurring in a church and says before the reformation it could have happened anywhere. Cranach probably depicted this because Luther felt that God’s word must occur in church. [11] Referencing this crucifix to Cranach’s 1530s ones, you see the similarities of the cloth floating in the air and the cleaned up image of Christ. It’s as if he just took the same idea he created from those paintings and placed it in this altarpiece.
Above the crucifixion scene, Cranach depicts the sacraments being administered to the congregation. On left wing Cranach depicts the baptizing of a child. Luther found infant baptism to be very important. [12] On the right the pastor of the City Church, is hearing confession while he holds the keys to St. Peter (Walford). In the main center image, Cranach depicts the Last Supper. Luther says that if you are to create an altarpiece it must include the Last Supper. [13] He seemed to favor the idea of a Last Supper in an Altarpiece because it followed the scripture in the Bible (Noble 110). Cranach has removed the saints depicted with Jesus and replaced them with Luther and his own disciples (Walford). Luther is given the cup to commemorate the Last Supper. The way Luther is twisted is meant to be sure that you see his face and notice that it is him being depicted emphasizing his importance (Noble 111). Cranach was able to depict these traditional Catholic ideas but then adapt them to fit with Luther’s ideas.
Although Cranach was raised a Catholic and painted in that style initially when he converted to Lutheranism not only his theology changed but his painting style reflected that change as well. After examining his artworks with crucifixions in them, you see his change of iconography . Scholars state that during this period of time he still continued to paint for Catholic patrons. The idea that he was a business man fits this well. [14] He did not want to turn down money so he produced artworks for whoever would pay him. He was able to take the Crucifixion he depicted in his early Catholic works and change it slightly to fit with Luther’s ideas by removing the saints, Christ being so severly beaten, and eventually adding Luther preaching in front of him. Taking his learnings from Luther, Cranach produced his Protestant altarpieces.
1 - Noble, Bonnie. Lucas Cranach The Elder. On the back of her book, in a summary, Noble states how Cranach was so influential in the Reformation by making Luther’s ideas easier to understand, while depicting them in his paintings.
2 - Kleiner, Fred.Gardner's Art Through The Ages. On pg. 510. Protestants believed that these images would distract people from the real reason for being in church.
Mark Edwards, The Power of a Picture: How the Protestants Imaged the Gospel. Edwards states how the leaders knew about the power of the images and did all they could to remove them.
3 - Koerner, Joseph. The Reformation of the Image. Koerner refers to this work as the Schotten Crucifixion.
4 - Noble, Bonnie. Lucas Cranach The Elder. On page 83, she mentions how Cranach’s early works had saints and also donor portraits
5 - On page 12, Noble states how Luther even became the godfather of Cranach’s daughter, showing their strong friendship.
6 - R, D. C. "Bulletin of the Art Institute of Chicago”. States “It was about this time that the painter came under the influence of Luther and from then on one may notice a change in the spirit of his paintings.”
7 - Brinkmann, Bodo. Cranach. On page 208 states that The Law and Gospel is considered “the most important contribution to the development of a specifically Protestant pictorial language.
8 - Kuenzel, H. Cranach. On page 17, Kuenzel states Cranach’s style went from the “blood-flecked pictures of his early period and were replaced with decorative work of pleasantly harmonious construction.”
9 - “The Pictorial.” This is stated in Matthew 19:13-15, Mark 10:13-16, and Luke 18:15-17.
10 - Noble, Bonnie. On page 118. Since his eyes are open and his mouth is open. This is also shown in his 1538 crucifixion.
11 - Koerner, Joseph. The Reformation of the Image. On page 173 quotes Luther, “Where God’s Word is, there must be church”.
12 - Noble, Bonnie. On page 118 Noble states Luther keep the Catholic idea of infant baptism because “the infant’s faith comes through the faith of those who perform the Baptism”.
13 - On page 97 Noble quotes Luther. “Whoever is inclined to put pictures on the altar ought to have the Lord’s Supper of Christ painted”
14 - Talbot, Charles. "Cranach." On page 116 he is said to have turned these works for Catholic patrons over to his assistants.
1.) Brinkmann, Bodo. Cranach. New York: Royal Academy Books, 2008. Print.
Includes information on the Cranach’s Crucifixions, and the Law and The Gospel (Grace).
2.) Edwards, Jr., Mark U. "The Power of a Picture: How Protestants Imaged the Gospel." Religion-Online. 25 Jan. 2005. Web. 25 Oct. 2009. <http://www.religion-online.org/showarticle.asp?title=3159>.
An article on The Wittenberg Altarpiece and Protestant ideas in Cranach’s crucifixions of Christ.
3.) "European Painting and Sculpture Before 1800." Indianapolis Museum of Art: Modern, African & Fine Art, Gardens. Web. 9 Nov. 2009. <http://www.imamuseum.org/explore/artwork/345?page=2&highlight=182>.
An article on Cranach’s 1532 Crucifixion and it states it should be viewed in light of Luther’s ideas.
4.) Kleiner, Fred S. Gardner's Art Through The Ages. 11th ed. New York: Wadsworth, 2001. Print.
Useful information on Cranach’s Allegory of Law and Grace about Catholicism and Protestantism.
5.) Koerner, Joseph Leo.: The Reformation of the Image: Chicago : University of Chicago Press, 2004.
Very informative source with many useful details on his Protestant Wittenberg Altarpiece, his change in Crucifixion pieces, and involvement with Luther.
6.) Kuenzel, H. Cranach. Trans. Anne Rose. New York: Crown, Inc. Print.
A useful source that states that Cranach’s paintings went through a change during his Wittenberg years because of the Reformation and gives details about Luther’s writings being illustrated.
7.) "Lucas Cranach, the Elder." The Art Institute of Chicago. Web. 9 Nov. 2009. <http://www.artic.edu/artaccess/AA_RenBar/pages/REN_4>.
A useful article on Cranach’s 1538 Crucifixion and its depiction of Protestant iconography.
8.) Matthews, Thomas F., John W. Cook, and Jonathan Brown. Art and Religion: Faith, Form and Reform. Ed. Osmund Overby. University of Missouri, 1986. Print.
A useful source that states his art reflected a new theological environment with Luther and that he created Reformation iconography.
9.) Merback, Mitchell B. "Torture and Teaching: The Reception of Lucas Cranach the Elder's Martyrdom of the Twelve Apostles in the Protestant Era." JSTOR. College Art Association, Spring 1998. Web. 10 Nov. 2009. <http://www.jstor.org/stable/777988>.
This source shows the Protestant view in Cranach’s Martyrdom of St. Peter and how children in Cranach’s Crucifixion are present because of Luther’s teachings.
10.) Noble, Bonnie. Lucas Cranach the Elder: Art and Devotion of the German Reformation. Lanham: University of America, 2009. Print.
A very useful source about Cranach’s Law and Gospel, Schneeberg Altarpiece, Wittenberg Altarpiece and others, with reference to Protestant Iconography and how Saints are not dominant in later work.
11.) R, D. C. "Bulletin of the Art Institute of Chicago." Crucifixon by Lucas Cranach the Elder 23.1 (1929): 6-7. JSTOR. Web. 21 Oct. 2009. <http://www.jstore.org/stable/4103472>.
A useful article comparing Cranach’s two Crucifixion paintings and their Catholic and Protestant differences.
12.) Schjeldahl, Peter. "Reformers." New Yorker 17 Dec. 2007: 104-05. EBSCO. Web. 21 Oct. 2009. <http://ezp.sxu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=27947987&site=ehost-live>.
A useful article with a little information on propaganda in the start of the Lutheran religion.
13.) Stepanov, Alexander. Lucas Cranach the Elder. New York: Parkstone Ltd, 1997. Print. Great Painters.
A useful source that states that he depicted an image of Christ unusual in the Catholic tradition before meeting Luther.
14.) Talbot, Charles. "Cranach." Ed. Jane Turner. The Dictionary of Art. Vol. 8. New York: Oxford UP, 1996. 111-119. Print.
This source gives some useful info about The Reformation and Luther and also that Cranach continued to paint for Catholic patrons while doing Protestant works.
15.) "The pictorial world of the Protestants." Royal Academy of Arts. Web. 9 Nov. 2009. <http://www.royalacademy.org.uk/print/exhibitions/cranach/the-pictorial-world-of-the-protestants,566,AR.html>.
A useful article on Cranach’s Christ Blessing the Children and it’s Protestant depictions.
16.) Walford, John. "The Protestant Reformation in Sixteen-century Germany." Great Themes in Art. Upper Saddle River, NJ: Prentice Hall, 2002. 247-48. Print.
This source includes some useful info on his Wittenberg Altarpiece and that Cranach included Luther preaching his gospel.
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