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Lucretia (Lucas Cranach d.ä.) - Nationalmuseum - 18083


Lucretia (Lucas Cranach d.ä.) - Nationalmuseum - 18083



According to tradition, Lucretia was a beautiful noblewoman of ancient Rome. She was the virtuous wife of Lucius Tarquinius Collatinus, whose uncle was the last king of the city. Lucretia took her own life after being raped by one of the
king’s sons. The incident is said to have sparked a revolt in which the

royal family was overthrown, marking the start of the Roman Republic. It was a subject the German Renaissance artist Lucas Cranach the Elder and his contemporaries frequently returned to. This painting probably belonged to King Gustav Vasa’s collection of art. Svenska: Lucretia var enligt traditionen en vacker adelsdam i antikens Rom. Hon var dygdig hustru till Lucius Tarquinius Collatinus, vars farbror var rikets siste kung. Lucretia tog sitt liv efter att ha blivit våldtagen av en av kungasönerna. Händelsen ska ha bidragit till en revolt där kungafamiljen störtades, vilket blev början på den romerska republiken. Den tyske renässanskonstnären Lucas Cranach d.ä. och hans samtida konstnärskollegor återvände många gånger till motivet. Målningen ingick i Gustav Vasas konstsamling.

The term "Northern Renaissance" refers to the art development of c.1430-1580 in the Netherlands Low Countries and Germany. The Low Countries, particularly Flanders with cities Antwerp, Ghent, and Bruges, were, along with Florence, the most economically advanced region in Europe. As in Florence, urban culture peaked here. The common understanding of the Renaissance places the birth of the Renaissance in Florence, Italy. Rennaisance's ideas migrated to Germany from Italy because of the travels of Albrecht Dϋrer. Northern artists such as Jan van Eyck remained attached to Medieval traditions. In their paintings, Low Countries painters attempted to reproduce space, color, volume, and light as naturalistically as possible. They achieved the perfection of oil paint in the almost impossible representation of things and objects. Rather than draw upon Classical Greek and Roman aesthetics like their Italian counterparts, Northern European Renaissance artists retained a Gothic sensibility of woodblock printing and illuminated manuscripts which clearly distinguished Northern Rennaisance art from Italian. Unlike Italian artists, northern painters were not interested in rediscovering the spirit of ancient Greece. Instead, they sought to exploit the full potential of oil paint, and capture nature exactly as they found it. Unlike their Italian counterparts, who embraced a mathematically calculated linear perspective and constructed a picture from within, Dutch artists used an empirical perspective with precise observation and knowledge of the consistency of light and things. They painted as they saw and came very close to the effect of central perspective. Long before Leonardo, they invented aerial and color perspectives. More, as with real-world human vision, their far-away shapes lose contours, and the intensity of the colors fades to a bluish hue. Robert Campin (c.1378-1444), was noted for works like the Seilern Triptych (1410) and the Merode Altarpiece (1425); Jan van Eyck (1390-1441) was noted for the Ghent Altarpiece (1432) and The Arnolfini Marriage (1434); Jan Eyck's pupil Petrus Christus (c.1410-75), best known for his Portrait of a Young Girl (1470, Gemaldegalerie, Berlin); Roger Van der Weyden (1400-64) noted for his extraordinary realism as in his masterpiece Descent From the Cross (Deposition) (1435), for the Church of Notre Dame du Dehors (now in the Museo del Prado, Madrid); Dieric Bouts (1420-75) for his devotional pictures; Hugo Van Der Goes (1440-82) famous for The Portinari Altarpiece (1475) which influenced the Early Renaissance in Florence; Hieronymus Bosch (1450-1516) noted for The Garden of Earthly Delights (1510-15) and other moralizing works; Joachim Patenier (1485-1524) the pioneer landscape painter; and Pieter Bruegel the Elder (c.1525-1569) known for landscape narratives such as The Tower of Babel (1563).





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