COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1981.52
amicoid
CMA_.1981.52
AMICA ID
false
AMICA Library Year:
2002
aly
2002
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Germany, Cologne, 14th century
crc
Germany, Cologne, 14th century
Creator Nationality
false
Creator Name-CRT:
Germany, Cologne, 14th century
crt
Germany, Cologne, 14th century
Creator Name-CRT
false
Title:
Crucified Christ
otn
Crucified Christ
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1380-1390
oct
c. 1380-1390
Creation Date
false
Creation Start Date:
1375
ocs
1375
Creation Start Date
false
Creation End Date:
1395
oce
1395
Creation End Date
false
Materials and Techniques:
walnut (once polychromed)
omd
walnut (once polychromed)
Materials and Techniques
false
Classification Term:
Sculpture
clt
Sculpture
Classification Term
false
Dimensions:
Overall: 41.6cm x 36.85cm
met
Overall: 41.6cm x 36.85cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1981.52
ooa
1981.52
ID Number
false
Credit Line:
Andrew R. and Martha Holden Jennings Fund
ooc
Andrew R. and Martha Holden Jennings Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
(Galerie A. Raphael, Vienna, Austria).
opo
(Galerie A. Raphael, Vienna, Austria).
Provenance
false
Context:
The striking impression this figure imparts is the intent to vividly represent the sufferings of the Redeemer. It is the moment after his death: the drooping head on a frail neck is a rigid mask of agony, the eyes are nearly shut, the mouth is ajar, the forehead crowned by heavy and gouging thorns is drawn with pain. The elongation of the body is emphasized by the emaciated chest with protruding ribs, depressed abdomen, and bony limbs.The resulting sense of frailty and utter pathos is augmented by the heavy strands of hair which uncurl not ungracefully alongside the tormented face and by the conspicuous physicality of the loincloth folds which break the inexorable downward verticality of the body. The sculpture belongs to a group of emotion inspiring crucifixes and pietas carved in the Middle-Rhine region for over a century beginning about 1300, examples of which are principally found in the city of Cologne, and important pilgrimage and religious center known in the Middle Ages as the town of a hundred spires.
cxd
The striking impression this figure imparts is the intent to vividly represent the sufferings of the Redeemer. It is the moment after his death: the drooping head on a frail neck is a rigid mask of agony, the eyes are nearly shut, the mouth is ajar, the forehead crowned by heavy and gouging thorns is drawn with pain. The elongation of the body is emphasized by the emaciated chest with protruding ribs, depressed abdomen, and bony limbs.The resulting sense of frailty and utter pathos is augmented by the heavy strands of hair which uncurl not ungracefully alongside the tormented face and by the conspicuous physicality of the loincloth folds which break the inexorable downward verticality of the body. The sculpture belongs to a group of emotion inspiring crucifixes and pietas carved in the Middle-Rhine region for over a century beginning about 1300, examples of which are principally found in the city of Cologne, and important pilgrimage and religious center known in the Middle Ages as the town of a hundred spires.
Context
false
Related Image Identifier Link:
CMA_.AM20021557.tif
ril
CMA_.AM20021557.tif
Related Image Identifier Link
false