Lucas Cranach the Elder the Judgment of Paris

¶ … artwork entitled "The Judgment of Paris," by Lucas Cranach the Elder. Specifically, it will briefly describe the subject of the work, and analyze the work in regard to its expressive content. What statement do you think the artist wanted to make? What techniques did the artist use to make this statement? Discuss the composition; the treatment of figures; the use of color, light/shade; scale; the treatment of space; the handling of paint; the organization of space.

"The Judgment of Paris" depicts a famous mythological scene with great attention to detail and reality. Cranach's work expresses the myths of old set in his current time of the 15th and 16th centuries. His ability to combine ancient stories with modern settings might have been incongruous, but instead, his paintings are stimulating examples that blend elements to created a coherent and charming whole. THE JUDGMENT OF PARIS Lucas Cranach the Elder was a German painter who lived from 1472 to 1553, and painted in the Northern Renaissance style.

This painting, "The Judgment of Paris," is tempera and oil on wood, which measures 401/2 x 28 and Cranach painted it sometime around 1528. Cranach enjoyed painting in a natural style, blending his figures with the surrounding landscape, and this painting is a good example of his technique (Editors). The landscape behind the figures is quite detailed. It even includes a medieval castle on the edge of a towering cliff, along with a medieval town set off in the distance in the valley, with a ship floating serenely in the town's harbor.

It is quite interesting that Cranach painted an ancient mythological scene set in his current time, with the main characters, Paris and Mercury, costumed in medieval clothing, rather than in the ancient clothing they would have worn during the time the myth was set, in Troy. The painting depicts Paris of Troy, a young prince lounging under a tree and wearing medieval armor. His trusty steed waits for him, as his advisor, Mercury, discusses Paris' assignment. The three goddesses to the right of the painting are Athena, Aphrodite, and Hera.

"The goddesses are winsome young German girls posing with naive awkwardness in the traditional attitudes, but without the customary attributes. The heavy necklaces, the plumed hat, and the scanty drapery serve merely to emphasize their piquant nudity" (Scherer 20). Aphrodite points to her son Cupid, who hovers overhead, ready to shoot his romantic dart into Paris at the right moment. Paris must give a golden apple to the goddess he chooses as the most attractive, and the goddesses are vying for his attention, each one with her own personality and gestures.

Hera promised the Trojan prince power and wealth if he would decide in her favour; Athena, victory and renown in war; Aphrodite, the love of the fairest woman in Greece, whom many authors named as Helen, wife of Menelaus king of Sparta. Paris was young and eager; Aphrodite was, after all, love and beauty personified. It was but natural for him to favour her (Scherer 10).

Paris indeed does choose Aphrodite, and in turn marries the beautiful Helen - the fact that she is already married does not deter him, he simply abducts her. Interestingly, this is one of the most common mythological themes in art and literature, and Cranach painted several different versions of this tale. Of all incidents in the Trojan War this has been the most continuously stressed in art and literature. It appears in the seventh century B.C., or perhaps a little earlier, on an ivory comb found in Sparta.

Homer knew the story, though the Iliad mentions it only in passing as'.. The delusion of Paris, who insulted the goddesses when they came to him' (Scherer 10). The work is extremely typical of German Renaissance painting of the time, which intricately combined medieval detail with ancient tales. Cranach was a popular painter of the time, earning commissions from the Pope, the Duke of Saxony, and many officials in Rome (Scherer 20), so his style of painting was clearly popular and well received.

He also taught his son, Cranach II, to paint in the same manner, and it is often difficult to tell the two different painters apart (Editors). Germans especially enjoyed these mythological paintings, and Cranach's style was extremely popular in his native country. The Germans found his work both humorous and naive, but sophisticated in the style and execution (Scherer 20). The three goddesses are a good example of this na vete as they cover themselves modestly, or glance shyly over their shoulder toward the viewer.

The coloration of the goddesses is a subtle blending of like shades that create lights and darks, shadows and brightness, adding to their dimension and their impact. It is clear they are the main subject of the painting, while Paris and Mercury, though spectacularly dressed; fade more into the background with their darker shades. They appear almost shadowy compared to the brightly lit goddesses. Thus, the balance of the painting seems lopsided, and yet the details behind the group in the foreground tend to balance out the entire painting.

Every part.