Who painted The Celestial Ladder of Saint Bonaventura?

The Celestial Ladder of Saint Bonaventura was painted by Lucas Cranach the Elder in 1512.

Where can I see The Celestial Ladder of Saint Bonaventura?

The Celestial Ladder of Saint Bonaventura is held by National Gallery of Art.

What movement is The Celestial Ladder of Saint Bonaventura?

The Celestial Ladder of Saint Bonaventura is associated with Renaissance.

Artwork

The Celestial Ladder of Saint Bonaventura

Lucas Cranach the Elder , 1512

The Celestial Ladder of Saint Bonaventura is an ink print by the Renaissance artist Lucas Cranach the Elder. It dates from 1512 and is held in the collection of the National Gallery of Art.

About this work

Overview

The Celestial Ladder of Saint Bonaventura is a 1512 woodcut by Lucas Cranach the Elder, exemplifying his proficiency in printmaking techniques alongside engraving. Produced during the German Renaissance, it reflects the artist's exploration of religious themes.

Subject & Meaning

The woodcut depicts a ladder ascending to heaven, symbolizing spiritual ascent. This religious subject highlights Cranach's engagement with Catholic traditions, as well as nascent Lutheran influences, characteristic of his oeuvre.

Technique & Style

As a woodcut, the piece showcases Cranach's mastery of the medium. Intricate details, such as the ladder's design and surrounding figures, demonstrate the woodcut technique's capacity for texture and precision.

History & Provenance

Created in 1512, the work was produced during Cranach's tenure as court painter to the Electors of Saxony. Specific provenance details are not provided.

Context

Situated within the German Renaissance, the piece reflects the period's religious and artistic currents. Cranach's dual engagement with Catholic and emerging Lutheran themes situates the work at a pivotal moment in European religious history.

Legacy

While the work's direct legacy is not elaborated, it contributes to Cranach's reputation as a versatile Renaissance artist. The piece remains a testament to the woodcut's expressive potential in early 16th-century religious art.