Lucas Cranach’s first graphic works were created during his stay in Vienna around 1501/03. From the beginning of his artistic career, Cranach considered printmaking an important task. Economic considerations led him to prefer woodcut to copperplate engraving. With woodblock printing, prints could be made in almost unlimited quantities on the same platen press used for letterpress printing. Image and text printing could be combined quickly and with little effort in the case of single-leaf woodcuts and book illustrations. In copperplate engraving, on the other hand, as an intaglio process, the ink must be drawn from the engraved lines, which requires a roller press with much higher pressure.
The production of a woodcut required a division of labour between the designer, the engraver, and the form cutter. Because of the very different cutting methods used in Cranach’s work, it can be assumed that he employed several form cutters in Wittenberg. They cut the printing blocks. As court painter from 1505 until his death in 1553, Cranach determined the pictorial representation of the most powerful dynasty after the Habsburg imperial court. In addition to the usual craft activities such as painting and gilding, the court painter also worked on designs for court garments, flags and festive decorations. His primary activity, however, consisted of representative paintings that served to decorate the electoral residences, but also served in diplomatic dealings as gifts to friendly courts. For this purpose, Cranach’s workshop produced countless portraits, mythological and biblical histories, and depictions of hunting and tournaments.
The early patronage of the Saxon electors for Luther and his connection to the Cranach family meant that the Cranach workshop played an important role in the spread of Reformation ideas. Immediately with the beginning of the Reformation Lucas Cranach began with the production of propagandistic prints and mocking pictures which experienced an immense spreading as leaflets. In the process, a change in the pictorial language took place, especially in the Protestant world. The court slowly began to replace the church as the most important patron of the arts. The reference to the client is reinforced by the Saxon double coat of arms, which Cranach used from the beginning of his activity as a court painter.
The history of the graphic arts in Saxony only begins with the appointment of the Franconian painter Lucas Cranach as court painter to John Frederick the Wise in Wittenberg in 1505.
For the next half century, Lucas Cranach’s remained the dominant influence not only in Wittenberg and Leipzig, but also in the Lower Saxon districts farther north, although smaller artists flourished in some outlying places such as Halberstadt. The Saxon letterpress printer, draftsman and form cutter Jacob Lucius also known as, Master of the Adoration of the Shepherds, was in Wittenberg since 1556 and worked successfully for Hans Lufft. He moved to Rostock in 1564 and in 1576 he was in Helmstedt permanently where he died of the plague in 1597.
Hans Brosamer’s artistic training probably also took place in the environment of the Saxon Cranach circle. Shortly thereafter we find him in Nuremberg, where he first worked as a portrait painter and later also produced the first woodcuts. Under the influence of Nuremberg, his style changed from Georg Lemberger’s painterly vocabulary of curly lines to a smoother and calmer art of drawing. Hans Brosamer worked for various printers throughout the empire beginning in the mid-1520s. Brosamer provided the magnificent illustrations for Peter Apian’s … in Ingolstadt, published between 1532 and 1540.