Overview
Matthias Grünewald's The Small Crucifixion is a masterful example of the artist's ability to translate his deep spiritual faith into pictorial form. Each individual, according to Grünewald, must reexperience within himself not only the boundless joy of Christ's triumphs but also the searing pains of his crucifixion.
In order to communicate this mystical belief, Grünewald resorted to a mixture of ghastly realism and coloristic expressiveness. Silhouetted against a greenish–blue sky and illuminated by an undefined light source, Christ's emaciated frame sags limply on the cross. His twisted feet and hands, crown of thorns, agonized expression, and ragged loincloth convey the terrible physical and emotional suffering he has endured. This abject mood is intensified by the anguished expressions and demonstrative gestures of John the Evangelist, the Virgin Mary, and the kneeling Mary Magdalene.
Grünewald's dissonant, eerie colors were also rooted in biblical fact. The murky sky, for instance, corresponds to Saint Luke's description of "a darkness over all the earth" at the time of the crucifixion. Grünewald, who himself witnessed a full eclipse in 1502, has re–created here the dark and rich tonalities associated with such natural phenomena.
Today, only 20 paintings by Grünewald are extant, and The Small Crucifixion is the only one in the United States.
More information on this painting can be found in the Gallery publication German Paintings of the Fifteenth through Seventeenth Centuries, which is available as a free PDF https://www.nga.gov/content/dam/ngaweb/research/publications/pdfs/german-painting-fifteenth-through-seventeenth-centuries.pdf
Inscription
upper center on placard at top of cross: I.N.R.I
Provenance
Wilhelm V, duke of Bavaria [d. 1597], Munich. Maximilian I, duke of Bavaria [d. 1651], Munich.[1] Private collection, western Germany, possibly Westfalia.[2] Dr. Friedrich Schöne, Essen and Stettin (now Szczecin), by 1922; purchased 27 September 1927 by Franz Wilhelm Koenigs [1881-1941], Haarlem;[3] sold 1953 by his heirs to the Samuel H. Kress Foundation, New York;[4] gift 1961 to NGA.
Exhibition History
- 1928
- Grünewald-Ausstellung, Staatliches Museum, Kupferstichkabinett, Berlin, December 1928-1929.
- 1929
- Ausstellung alter Malerei aus Privatbesitz, Kunstmuseum, Düsseldorf, 1929, no. 27.
- 1935
- Lent by Franz Koenigs to the Wallraf-Richartz-Museum, Cologne, for six months in 1935.
- 1936
- Lent by Franz Koenigs to the Kaiser-Friedrich-Museum, Berlin, 1936.
- 1938
- Meesterwerken uit vier Eeuwen 1400-1800, Museum Boymans, Rotterdam, 1938, no. 31.
- 1940
- Deposited by Franz Koenigs and heirs with the Rijksmuseum, Amsterdam, from appx. 1940 to 1953, with the exception of 1952 when the painting was lent to the Kunsthistorisches Museum, Vienna.
- 1961
- Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection, National Gallery of Art, Washington, 1961-1962, no. 75, 77, repro.
Technical Summary
The painting is composed of three vertical boards.[1] As viewed from the recto, the widths of the boards are approximately 11.8 cm, 11.5 cm, and 21.6 cm wide, from right to left. There is a shallow sawdust fill on the verso along the right-hand join. The left board contains two rectangular inserts that are probably replacements for knotholes. The panel is warped in a continuous convex curve and has suffered worm infestation. On the verso, which has been thinned, a series of shallow saw kerfs form a diamond pattern. Original paint extends to the edges of the support, and earlier reports of an unpainted border approximately 1 cm wide suggest that the panel edges may have been trimmed.[2] Examination with infrared reflectography did not disclose underdrawing. X-radiography reveals that the undermodeling in John's robes originally described different folds and contours. The little finger of the Virgin's proper left hand has been shortened, and the right contour of Christ's loincloth has been altered.
Most of the figures are intact despite damage and numerous areas of retouching and abrasion. There are four roughly circular losses in John's robe and a large irregular loss in the sky to the left of Christ's torso. There are small scattered losses throughout and abrasion of the paint surface, particularly in the background landscape.
The painting was restored in 1922.[3] In 1936 the letters mg were revealed at the top of the cross as a result of restoration; these are in all likelihood a composite of an old and a more recent retouching.[4]
[1] The wood was identified as linden by Peter Klein, examination report, 29 September 1987, in NGA curatorial files.
[2] Schoenberger 1922, 36, and Zülch 1938, 325, mention unpainted edges; Schoenberger states that a chalk ground extended over the unpainted edges.
[3] Schoenberger 1922, 35-36, describes the painting's condition.
[4] According to Zülch 1938, 325, the painting was treated twice before it was restored by Otto Klein in 1936. See also the memorandum recording a conversation between William P. Campbell and Otto Klein, 8 May 1970, in NGA curatorial files; and Saran and Schmeidler 1974, 212-213, based on an interview with Klein in 1965. The letters mg were accepted as autograph by Zülch 1938, 325, and many subsequent authors. Kress 1956, 100, suggested that the letters were from the seventeenth century and stood for "Mathis Grünewald." I am grateful to Laetitia Yeandle, curator of manuscripts, Folger Shakespeare Library, for her paleographic observations.
Bibliography
- 1675
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- 1884
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- 1953
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- 1954
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- 1955
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- 1955
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- 1955
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- 1956
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- 1956
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- 1956
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- 1956
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- 1956
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- 1957
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- 1957
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- 1958
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- 1958
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- 1960
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- 1961
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- 1962
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- 1962
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- 1962
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- 1963
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- 1963
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- 1963
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- 1965
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- 1965
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- 1965
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- 1966
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- 1966
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- 1966
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- 1966
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- 1967
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- 1967
- Huysmans, Joris-Karl. Trois primitifs: les Grünewald du musée de Colmar; le Maître de Flémalle et la Florentine du musée de Francfort-sur-le-Main. Images et Idées series. Paris, 1966: 104, no. 14, repro. (After the original text of 1905, e. A. Messein.)
- 1968
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- 1968
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- 1968
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- 1969
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- 1969
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- 1970
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- 1970
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- 1971
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- 1971
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- 1971
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- 1971
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- 1973
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- 1973
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- 1973
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- 1974
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- 1974
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- 1974
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- 1974
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- 1974
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- 1974
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- 1975
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- 1975
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- 1975
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- 1976
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- 1976
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- 1976
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- 1977
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- 1977
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- 1977
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- 1979
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- 1980
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- 1980
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- 1980
- Wold, Milo Arlington, et al. An Introdcution to Music and Art in the Western World. 6th ed. Dubuque, 1980: 125, color pl 11. (10th ed. Madison, 1996: 143, color pl. 29.)
- 1981
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- 1982
- Abrams, Richard I. and Warner A. Hutchinson. An Illustrated Life of Jesus, From the National Gallery of Art Collection. Nashville, 1982: 118-119, color repro.
- 1982
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- 1982
- Spivey, Robert A. and D. Moody Smith. Anatomy of the New Testament: A Guide to Its Structure and Meaning. New York, 1982: 81, repro.
- 1983
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- 1983
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- 1984
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- 1984
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- 1984
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- 1986
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- 1987
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- 1990
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- 1991
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- 1991
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- 1992
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- 1992
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- 1992
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- 1993
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- 1993
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- 1995
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- 1995
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- 1995
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- 1995
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- 1996
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- 1996
- Woodard, Russell Main. Revelation--A Spiritual Study. Silver Spring, 1996: repro.
- 1997
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- 1997
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- 1998
- Saltzman, Cynthia. Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece. New York, 1998: 192.
- 1998
- Shefer, Elain. "Death." In Encyclopedia of Comparative Iconography, edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:227, 231.
- 1998
- Wheeler, Marion. Her Face: Images of the Virgin Mary in Art. Cobb, Calif., 1998: fig. 90 and detail.
- 1999
- Busse, Jacques. "Grünewald, Mathias." In Dictionnaire critique et documentaire des peintres, sculpteurs dessinateurs et graveurs de tous les temps . . . (Bénézit). New ed. 14 vols. Paris, 1999: 6:500-501.
- 2004
- Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 146-147, no. 113, color repro.
- 2005
- Michelman, Dorothea S. "A German Treasure Trove: The National Gallery of Art." German Life (June/July 2005): 43.
- 2005
- Sander, Jochen. Hans Holbein D.J. Tafelmaler in Basel 1515-1532. Munich, 2005: 143 nt. 61.
- 2006
- Rosenberg, Pierre. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006: 52-53, 231, 238, color fig.
- 2007
- Gifford, E. Melanie Susanna P. Griswold, and Norma Uemura. "Matthias Grünewald's Small Crucifixion: Painting Practice and Personal Style." In La technique picturale de Grünewald et des ses contemporains, edited by Pantxika Béguerie-De Paepe and Michel Menu. Centre de recherche et de restauration des musées de France, Colloque international, 24-26 January 2006. Colmar, 2007: 73-80, color figs. 1-10d.
- 2007
- Ravaud, Élisabeth and Elsa Lambert. "Les étapes d’élaboration du retable à travers l’imagerie scientifique." In Grünewald et le retable d'Issenheim: Regards sur un chef-d'oeuvre. Exh. cat. Musée d'Unterdenlinen 2007-2008, Colmar. Paris, 2007: 147, 242, color fig. 6. (The painting was not in the exhibition.)
- 2007
- Reuter, Astrid, et al. Grünewald und seine Zeit. Exh. cat. Staatliche Kunsthalle Karlsruhe 2007-2008. Munich/Berlin, 2008: 15, 27, 216, 410, under no. 160, 412-413 under no. 261 fig. 160, color fig 161. (The painting was not in the exhibition.)
- 2007
- Schubert, Michael. Der Isenheimer Altar: Geschichte, Deutung, Hintergrund. Stuttgart, 2007: 149, color repro.
- 2008
- Roth, Michael et al. Matthias Grünewald: Zeichnungen und Gemälde. Exh. cat. Kupferstichkabinett, Staatliche Museen zu Berlin, 2008. Berlin, 2008: 219-220, fig. 1. (The painting was not in the exhibition.)
- 2009
- Hubach, Hanns. "Grünewald, Mathias." In Allgemeines Künstler-Lexicon: Die bildenden Künstler aller Zeiten und Völker. 75+ vols. Munich and Leipzig, 1992- . Munich and Leipzig, 2009: 63:389, 395.
- 2009
- Vetter, Ewald M. Grünewald: Die Altäre in Frankfurt, Isenheim, Aschaffenburg und ihre Ikonographie. Weissenhorn, 2009: 201.
- 2012
- Martin, François-René. “Grünewald et son art.” In Martin, François-René, Michel Menu and Sylvie Ramond, Grünewald. Paris, 2012: 15, 35, 63, 73, 75, 76, 177, 240, 244, 252, 255, 267, 279, 311, color fig. 28.
- 2018
- Bryda, Gregory C. "The Exuding Wood of the Cross at Isenheim." Art Bulletin 100, no. 2 (June 2018): 31, note 18.
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