Art prints of paintings
Lucas Cranach the Elder

Explore prints of paintings by Lucas Cranach the Elder (1472–1553), a German Renaissance painter and printmaker. Portraits of the Saxon court, Reformation figures, biblical subjects, Venus, Lucretia and mythological scenes provide an overview of the principal groups represented in the collection.

Lucas Cranach the Elder, court painter in Wittenberg

Born in Kronach in 1472, Cranach worked in Vienna before entering the service of Frederick the Wise, Elector of Saxony, in Wittenberg around 1505. The National Gallery of Art notes that he supplied paintings, decorations and commissions for several ducal residences, then served Frederick’s successors until he went into exile with John Frederick of Saxony.

His work encompassed portraiture, religious painting, mythology, printmaking and images intended for the court. The winged serpent granted to him as an emblem by Frederick the Wise appears on many works from 1508 onwards, but interpreting a signature is not always enough to distinguish the master’s hand from that of the workshop.

A large workshop and attributions to be read precisely

Cranach ran a substantial workshop involving his sons Hans and Lucas Cranach the Younger, as well as apprentices and assistants. Museums therefore distinguish, depending on the work, between the hand of Lucas Cranach the Elder, his workshop, his circle or his school. Each product title is retained as it appears in the catalogue; when it explicitly mentions “School of Lucas Cranach the Elder”, this indication should be taken into account.

The collection presented here has been cleaned up to remove from its network works attributed to Lucas Cranach the Younger that are no longer members of this collection. It therefore allows visitors to browse the products currently associated with Lucas Cranach the Elder, without erasing the complexity of workshop practice.

Portraits of the Saxon court and civil figures

Portraiture occupies a major place in Cranach’s work. Costumes, jewellery, headdresses and inscriptions reveal the rank and identity of the sitters. The Metropolitan Museum of Art, for example, highlights the precision of the costume worn by Lukas Spielhausen, a jurist in the service of the Saxon court, in a portrait dated 1532.

Sibylle of Cleves, Portrait of Electress Sibylle of Saxony 1510-1569, Portrait of Duchess Catherine, Portrait of a Woman, Portrait of a Lady, Portrait of Elector Frederick III the Wise of Saxony 1463-1525.

Portrait of Saint Bridget of Sweden, Portrait of Moritz Buchner, Portrait of Madeleine of Saxony, wife of Elector Joachim II of Brandenburg, Portrait of Duke Henry the Pious of Saxony, Portrait of Christiane von Eulenau, Portrait of Anna Buchner née Lindacker.

Lukas Spielhausen, John 1498-1537, Duke of Saxony, Portrait of Mr A von Rechenberg, A Princess of Saxony, A Prince of Saxony, Portrait of a Man Wearing a Black Cap.

Portrait of a Man, Peasant's Head, Portrait of John Frederick the Magnanimous, Elector and Duke of Saxony, John the Constant, Elector of Saxony.

The Protestant Reformation, Luther and the Electors of Saxony

The National Gallery of Art presents Cranach as the artist most closely associated with the Protestant Reformation. A friend of Martin Luther, he disseminated portraits of Luther, Katharina von Bora and other reformers, while continuing to work for Catholic patrons. The portraits of the electors recall the political role of the Wittenberg court.

Portrait of Martin Luther, Martin Luther, Katharina von Bora, Wife of Martin Luther, Portrait of the Reformer Philipp Melanchthon, Portrait of the Reformer Georg Spalatin, The Deer Hunt of Elector Frederick the Wise 1463-1525 of Saxony.

Damnation and Redemption, Frederick the Wise Before the Mother of God, Frederick the Wise, Elector of Saxony.

Virgin and Child, Saints and Devotions

Variations on the Virgin and Child sometimes include Saint John the Baptist, angels, grapes or female saints. These recurring motifs are not interchangeable: gestures, attributes and secondary figures change the interpretation of each composition. Portraits of saints and devotional scenes complete this group.

Virgin and Child, Mary Magdalene, The Christ Child and Saint John the Baptist, Saint Christopher, Mary with the Child and the Young John beneath the Apple Tree, Virgin and Child with the Young Saint John the Baptist.

Virgin and Child with the Young Saint John the Baptist and Angels, Virgin and Child with Grapes, Christ on the Cross between the Virgin and Saint John, Adoration of the Child Jesus by Saint John the Baptist, Virgin and Child with Saints Catherine and Barbara, Virgin and Child Adored by the Infant Saint John the Baptist.

The Virgin Mary with the Child and Saint John the Baptist, The Martyrdom of Saint Barbara, The Holy Kinship, Mary with the Child, Saint with a Scroll.

The Passion, Resurrection and Episodes from the Life of Christ

The Lamentation, Mourning, Crucifixion and Resurrection form a group devoted to the Passion. Other works depict the Baptism, the miracles and Christ blessing the children. The designation “Workshop of Lucas Cranach the Elder” is retained for the relevant Crucifixion and must not be rephrased as a certain attribution to the master.

The Resurrection, The Lamentation of Christ, The Crucifixion, The Miracle of the Five Loaves and Two Fish, The Resurrection of Christ and Triumph over Death and the Devil, The Lamentation.

The Baptism of Christ, Christ Blessing the Children.

Adam and Eve, Judith, Samson and Biblical Stories

Cranach and his workshop transpose biblical stories into landscapes and costumes immediately recognisable to their audience. Adam and Eve, Judith and Holofernes, Samson and Delilah, Abraham’s sacrifice and Herod’s feast bring together moral choice, violence, seduction and salvation.

Samson and Delilah, Judith with the Head of Holofernes, Judith and Holofernes, Adam and Eve, Adam and Eve in Paradise: The Fall, The Garden of Eden.

Abraham’s Sacrifice, Herod’s Feast.

Venus, Lucretia and Courtly Mythology

Classical subjects offer another register. The Metropolitan Museum of Art describes the Judgement of Paris as one of the popular mythological themes produced for court patrons: Paris chooses between Juno, Minerva and Venus, while Mercury and Cupid add detail to the narrative. Venus, Lucretia, Apollo, Diana, Hercules and the nymph at the spring extend this humanist culture.

Venus, Venus with Cupid Stealing Honey, The Judgement of Paris, Lucretia, The Judgment of Paris, Apollo and Diana.

A Faun and His Family with a Slain Lion, The Nymph of the Spring, Hercules with Omphale, The Suicide of Lucretia, Venus and Cupid.

Allegories, Unequal Couples and Moral Lessons

The unequal couples and the old man seduced by courtesans stage the gap in age, money and desire. Charity and Melancholy belong to the realm of allegory. These works are not merely genre scenes: their gestures and attributes invite us to interpret a behaviour or an idea.

The Unequal Couple, Charity, An Unequal Couple, Melancholy, Old Man Seduced by Courtesans.

Hunts, Birds and Animal Studies

Court service also included hunting scenes, while studies of goats, deer and birds focus attention more closely on animals. Hartenfels Castle and princely hunts place these subjects within the culture of the Saxon court.

Two Bohemian Waxwings, Dead, Hunt near Hartenfels Castle, Study of Goats, Study of a Deer.

Choosing a Reproduction of Lucas Cranach the Elder

To create a coherent ensemble, start with a shared subject rather than a simple colour. Court portraits emphasise frontal poses and costume details; Virgin and Child works create a devotional grouping; biblical and mythological narratives suit a narrative composition.

• Portraits: pair an elector, a princess and a civic figure.
• Reformation: bring together Luther, Katharina von Bora and a Wittenberg reformer.
• Religious subjects: combine a Virgin and Child, a Passion scene and a biblical episode.
• Mythology: bring together Venus, the Judgment of Paris and a moral allegory.

Each product page specifies the supports, dimensions and options actually available. Select the support, then the format, to display the available variants and their prices.

Frequently Asked Questions about Lucas Cranach the Elder

What is the difference between Lucas Cranach the Elder and Lucas Cranach the Younger?

Lucas Cranach the Elder was the founder of the Wittenberg workshop. His son, Lucas Cranach the Younger, worked there and later continued its activities. Attributions may also refer to the workshop, the circle or the school, so these details should be retained whenever they appear in the title or catalogue entry.

Why is Cranach associated with Martin Luther?

They both lived in Wittenberg and had personal ties. Cranach and his workshop produced numerous portraits of Luther, his family and other reformers, as well as images connected with Reformation themes.

What subjects did Lucas Cranach the Elder paint?

His work includes portraits, altarpieces and biblical scenes, saints, mythological nudes, moral allegories, hunting scenes and animal studies.

Does the winged serpent guarantee that a work was entirely painted by Cranach?

No. This emblem is associated with Cranach and his workshop, but the collective organisation of production means that the attribution provided by the museum or reference catalogue should be consulted.

How can I find out the formats and prices?

Open the page for the artwork you have chosen, then select the medium and dimensions. The available options and the corresponding price will be displayed for that combination.

Documentary references: National Gallery of Art, National Gallery, London, and Metropolitan Museum of Art.