id: 118662 accession number: 1939.67 share license status: CC0 url: https://clevelandart.org/art/1939.67 updated: 2021-11-18 17:56:59.212000 Christ as the Man of Sorrows between the Virgin and St. John, 1470-75. Martin Schongauer (German, c.1450-1491). Engraving; The Cleveland Museum of Art, Dudley P. Allen Fund 1939.67 title: Christ as the Man of Sorrows between the Virgin and St. John title in original language: series: series in original language: creation date: 1470-75 creation date earliest: 1465 creation date latest: 1480 current location: creditline: Dudley P. Allen Fund copyright: --- culture: Germany, 15th century technique: engraving department: Prints collection: PR - Engraving type: Print find spot: catalogue raisonne: Lehrs V.173.34 --- CREATORS * Martin Schongauer (German, c.1450-1491) - artist Martin Schongauer (ca. 1450-53, Colmar - 2 February 1491, Breisach) was one of the most skilled and influential graphic artists of Europe in the last quarter of the 15h century. Trained both as an engraver and as a painter, Schongauer started his apprenticeship under his father Caspar Schongauer, a goldsmith from Augsburg. In 1465, he matriculated at the University of Leipzig. After one year, he left his studies, and came back to Colmar. There, he was trained under the painter Caspar Isenmann, between 1466 and 1469. Schongauer later traveled down to the Rhine, Cologne, Burgundy, the Netherlands, and he likely visited Spain. In 1489, he became a citizen of Breisach, where he died probably of the plague in 1491. Only a few of Schongauer's paintings survive. Among these is the Madonna in the Rose Garden for the Church of Saint Martin in Colmar (1473), which betrays Schongauer's admiration for the works by the Netherlandish painter Roger Van der Weyden. The bulk of Schongauer's engravings is more conspicuous: 116 prints, none of them dated, but all marked by his monogram M+S. Characterized by exquisite cross-hatching and impeccable craftsmanship, Schongauer's engravings were widely imitated by the German printmakers Ishrael van Meckenem and Albrecht Durer, as well as by Italian artists, such as Cristoforo Robetta and Nicoletto da Modena. --- measurements: state of the work: edition of the work: support materials: inscriptions: --- CURRENT EXHIBITIONS title: The Silver Jubilee Exhibition opening date: 1941-06-23T04:00:00 The Silver Jubilee Exhibition. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941). title: Sacred and Profane in Late Gothic Prints opening date: 1987-06-02T04:00:00 Sacred and Profane in Late Gothic Prints. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 2-August 2, 1987). --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: The Virgin's garment gently intrudes into the space of the viewer, as if to invite the beholder to participate more closely in this scene of compassion. digital description: Prints of the Man of Sorrow were widely widespread in Northern Europe after the mid-15th century. The image portrays Christ naked above the waist, wearing the crown of thorns, and displaying the wounds of the Passion marking his hands and side. The Virgin Mary and Saint John the Evangelist flank Christ and mourn his death. Images like these functioned as devotional tools meant to help the faithful to meditate on the Lord's suffering. By showing Christ's hand over his chest and the Virgin's hand on his side, he focused the viewer's attention on Christ's wounds. Similarly, Saint John's compassionate gaze provides a model of empathy for the beholder. wall description: --- RELATED WORKS --- CITATIONS --- IMAGES web: https://openaccess-cdn.clevelandart.org/1939.67/1939.67_web.jpg print: https://openaccess-cdn.clevelandart.org/1939.67/1939.67_print.jpg full: https://openaccess-cdn.clevelandart.org/1939.67/1939.67_full.tif