id: 105040 accession number: 1923.264 share license status: CC0 url: https://clevelandart.org/art/1923.264 updated: Crucified Man, 1550. Melchior Lorck (Danish, 1526/27-aft 1588), after Michelangelo Buonarroti (Italian, 1475–1564). Engraving; The Cleveland Museum of Art, Gift of Leonard C. Hanna, Jr. 1923.264 title: Crucified Man title in original language: series: series in original language: creation date: 1550 creation date earliest: 1550 creation date latest: 1550 current location: creditline: Gift of Leonard C. Hanna, Jr. copyright: --- culture: Germany, 16th century technique: engraving department: Prints collection: PR - Engraving type: Print find spot: catalogue raisonne: Hollstein XXII.186.11 --- CREATORS * Melchior Lorck (Danish, 1526/27-aft 1588) - artist * Michelangelo Buonarroti (Italian, 1475–1564) - artist --- measurements: state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: Exhibition of Prints by the Little Masters: Prints form the Museum Collection opening date: 1938-03-23T05:00:00 Exhibition of Prints by the Little Masters: Prints form the Museum Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-April 24, 1938). title: 16th Century German Engravings opening date: 1938-12-13T05:00:00 16th Century German Engravings. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1938-January 22, 1939). title: Master/Apprentice: Imitation and Inspiration in the Renaissance opening date: 2019-10-13T04:00:00 Master/Apprentice: Imitation and Inspiration in the Renaissance. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 2019-February 23, 2020). --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: digital description: In this print Danish artist Melchior Lorck isolated the figure of the Old Testament villain Haman from Michelangelo’s Sistine Chapel ceiling. Lorck may have seen it in person, or in a print or drawing. He rendered the musculature and outline carefully, but less successful were his grasp of the figure’s foreshortening (the rendering of a figure in perspective), and the proportions of the body in relation to the head. Artists working outside Italy around 1550 still did not generally sketch from live models, nor did they directly study anatomy, which may explain Lorck’s awkward reconciliation of the form. wall description: --- RELATED WORKS --- CITATIONS --- IMAGES web: https://openaccess-cdn.clevelandart.org/1923.264/1923.264_web.jpg print: https://openaccess-cdn.clevelandart.org/1923.264/1923.264_print.jpg full: https://openaccess-cdn.clevelandart.org/1923.264/1923.264_full.tif