Martin Schongauer (German, Colmar ca. 1435/50–1491 Breisach)
11 3/8 x 16 7/8in. (28.9 x 42.9cm)
Purchase, The Sylmaris Collection, Gift of George Coe Graves, by exchange, 1935
Not on view
The largest and most painterly of his prints, Christ Carrying the Cross is Schongauer's masterpiece. This engraving depicting Christ's procession to Golgotha is the artist's most visually complex. He created a spectrum of tones from white to gray to black by altering the density of the hatching. Throughout the print, he masterfully offset light and dark areas: for example, he placed the fully shaded figures on the right against a landscape delineated only by outlines and did almost the reverse with the boy in the lower left, situated in front of an area of shadowed ground. Schongauer was inspired by a painting of the subject by Jan van Eyck, now lost and known only through copies, and similarly created an image packed with lively characterizations of exotic figures and incidental detail. Yet he pushed the entire procession to the foreground and, as in devotional icons, he turned Christ's head to confront the viewer, emphasizing man's identification with Christ's suffering.
Vendor: M. Knoedler & Co.
The Metropolitan Museum of Art. "The Print in the North," May 06, 1997 - July 13, 1997.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," January 12, 2009–April 12, 2009.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," March 26, 2012–July 19, 2012.
Lehrs 9; Bartsch VI.128.21
Adam von Bartsch Le Peintre graveur. Vienna, 1803, cat. no. VI.128.21.
Max Lehrs Geschichte und kritischer katalog des deutschen, niederländischen und französischen Kupferstichs im XV Jahrhundert (History and critical catalog of German, Netherlandish, and French copper engravings in the 15th century). 9 vols., 1908-1934, cat. no. 9.
Suzanne Boorsch, Nadine Orenstein "The Print in the North: The Age of Albrecht Durer and Lucas van Leyden." The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 54, no. 4, Spring 1997, p. 17.