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Christ as the Man of Sorrows at the Column after Flagellation
Lucas Cranach the Elder1515
Renaissance and Reformation. German Art in the Age of Dürer and Cranach
With his Man of Sorrows, Cranach was taking up a motif that had been widespread since the Middle Ages and remained present even after the Reformation. The wounds of Christ point to his death as self-sacrifice and redemption. In this elaborately designed space, Christ is standing at the column on a pedestal and looking directly at the viewer. John, Mary, and the plague saints Sebastian and Roch are praying before him.
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Details
- Title: Christ as the Man of Sorrows at the Column after Flagellation
- Creator: Lucas Cranach the Elder
- Date Created: 1515
- Physical Dimensions: 60 × 52.3 cm
- Technique and Material: Linden
- Provenance: To the gallery around 1820, first listed in the inventory in 1809/addenda in 1820
- Museum: Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister
- Inv.-No.: 1906 D
- ISIL-No.: DE-MUS-845318
- External Link: http://www.skd.museum/de/museen-institutionen/zwinger-mit-semperbau/gemaeldegalerie-alte-meister/
- Copyright: Photo © Staatliche Kunstsammlungen Dresden, Gemäldegalerie Alte Meister/ Elke Estel, Hans-Peter Klut; Text © Renaissance and Reformation: German Art in the Age of Dürer and Cranach, A Cooperation of the Los Angeles County Museum of Art, the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, Catalogue of the Exhibition at the Los Angeles County Museum of Art, Nov 20, 2016 – March 26, 2017, Munich: Prestel, 2016; cat. no. 11 / Roland Enke
- Catalogue: https://prestelpublishing.randomhouse.de/book/Renaissance-and-Reformation/Stephanie-Buck/Prestel-com/e504919.rhd
- Artist Dates: 1472 Kronach–1553 Weimar
- Artist Biography: Cranach, whose name derived from his birthplace, Kronach, was presumably trained by his father. Around 1502 Cranach was staying in Vienna, where he produced his first documented works. In 1504 Elector Frederick the Wise of Saxony called him to his court in Wittenberg, where Cranach would head a very large, extremely productive workshop. The Cranach factory was active in prints as well as paintings. His many portraits of Martin Luther—the Cranach and Luther families were close friends—and his altarpieces with decidedly Reformist programs made Cranach and his memorable style the epitome of Protestant visual culture. Nevertheless, Cranach was also active for Luther’s adversaries, such as Cardinal Albrecht of Brandenburg.
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