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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.

[1] Joachim von Sandrart, Teutsche Academie der edlen Bau-Bild-und Mahlerey-Künste (Der Teutschen Academie. Zwenter theil/von der alt/und neu-beröhmten Egyptischen/Briechischen/ Römischen/Italiänischen/hoch-und Niederteutschen Bau-Bild-und Mahlerey Künstlere Lob und leben.) (Nuremberg, 1675), 236; Alfred R. Peltzer, Joachim von Sandrarts Academie der Bau-Bild-und-Mahlerey-Künste von 1675 (Munich, 1925), 82, "Ferner haben ihre Fürstl. Durchl. Herzog Wilhelm in Bayern hochseligsten Andenkens als vernünftiger Urtheiler und Liebhaber der edlen Kunst ein klein Crucifix mit unser Lieben Frauen und S. Johann samt einer niederknienden und andächtig betenden Maria Magdalena so fleissig gemahlt von dieser Hand gehabt, auch sehr geliebt, ohne dass sie gewust, von wem es sey. Selbiges ist wegen des verwunderlichen Christus am Creutz, so ganz abhenkend auf den Füssen ruhet, sehr seltsam, dass es das wahre Leben nicht anderst thun könte, und gewiss über alle Crucifix natürlich wahr und eigentlich ist, wann ihm mit vernünftiger Gedult lang nachgesonnen wird, solches ist deswegen halb-Bogen gross auf gnädigen Befehl hochgedachten Herzogs Anno 1605 von Raphael Sadler in Kupfer gestochen worden, und erfreute ich hernachmalen Ihre Churfürstl. Durchl. Maximilian seligster Gedächnis höchlich, da ich des Meisters Namen geoffenbaret."

[2] Max J. Friedländer, "Grünewalds einst beim Bayernherzog bewahrte Kreuzigung." Jahrbuch der Preussischen Kunstsammlungen 43 (1922): 60; Alfred Scharf, "Alte Malerei aus Rheinisch-Westfälischem Privatbesitz. Die Jubiläumsausstellung des Kunstvereins für die Rheinlande und Westfalen in Düsseldorf." Der Cicerone 21 (1929): 370.

[3] Statement by Mrs. Christie van der Waals, daughter of Franz Koenigs, in NGA curatorial files.

[4] See The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/2297.

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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1894
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1907
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1922
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1922
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1923
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1924
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1930
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1935
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1936
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1936
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1939
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1940
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1943
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1949
Weixlgärtner, Arpad. Dürer und Grünewald. Ein Versuch, die beiden Künstler zusammen -- in ihren Besonderheiten, ihrem Gegenspiel, ihrer Zeitgebundenheit--zu verstehen. Göteborg, 1949: 28-29, 38-39, 42, 52-53, 58-59, 62-63, 72, 90-91, 152.
1949
Zülch, Walter Karl. Grünewald, Mathis Gothardt-Neithardt. Munich, 1949: 21-22, 61, no. 6, figs. 22-23.
1951
Belz, Wilhelm. "Grünewald-Kopie im Wetterau-Museum in Friedberg." Heimat im Bild (supplement to the Giessener Anzeiger) no. 1 (4 January 1951): 1-2, repro.
1953
"Das Klein-Kruzifix des Bayern-Herzogs." Die Weltkunst 23 no. 18 (23 September 1953): 4, repro.
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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1958
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1959
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1959
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1960
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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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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
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1968
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1968
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1968
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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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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
Walker, John. National Gallery of Art, Washington. New York, 1975: 106, 144-145, no. 152, color repro.
1976
Bodino, Maristella and Franco De Poli. Grünewald. Milan, 1976: 34, repro., 92-93, repro.
1976
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1976
Rieckenberg, Hans Jürgen. Matthias Grünewald. Herrsching, 1976: 10, 76, no. 9, pl. 12.
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
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1981
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1982
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1982
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1982
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1983
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1983
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1984
Müller, Christian. Grünewalds Werke in Karlsruhe. Karlsruhe, 1984: 31, repro. 33.
1984
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1984
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1984
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1985
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1985
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1986
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1987
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1990
Grimm, Claus and Bernd Konrad. Die Fürstenberg Sammlungen Donaueschingen: Altdeutsche und schweizerische Malerei des 15. und 16. Jahrhunderts. Munich, 1990: 252, under no. 73.
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
"National Gallery of Art, Washington." La muse: Bulletin of the Tokyo Fuki Art Museum4, no. 27 (1993): 21, 26, repro.
1995
Fiero, Gloria K. On the Threshold of Modernity: The Renaissance and the Reformation. The Humanistic Tradition 3. 2nd ed. [7th ed. 2015] Madison, 1995: 80, fig. 18.8.
1995
Harris, Stephen L. The New Testament. A Student's Introduction. 2nd ed. Mountain View, 1995: 103, repro.
1995
Kunioki, Katsu. Hoppō Runesansu. Sekai bijutsu daizenshū. Seiyō hen = New History of World Art 14. Tokyo, 1995: 278, fig. 178.
1995
Löcher, Kurt. Review of German Paintings of the Fifteenth through Seventeenth Centuries, by John Oliver Hand with the assistance of Sally E. Mansfield. Kunstchronik 43 no. 1 (January 1995): 16.
1996
Lamm, Robert C. The Humanities in Western Culture: A Search for Human Values. 10th ed. 2 vols. Madison, 1996: 2:58, fig. 17.49.
1996
Woodard, Russell Main. Revelation--A Spiritual Study. Silver Spring, 1996: repro.
1997
Richler, Martha. National Gallery of Art, Washington: A World of Art. London, 1997: 55, color fig. 13 and 14.
1997
Weininger, Susan S. "Ivan Albright in Context." In Susan F. Rossen, ed., Ivan Albright. Exh. cat. Art Institute of Chicago, 1997: 60, fig. 9.
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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