![]() ![]() ![]() (The Illustrated Bartsch 8 Commentary, Part 1, pg.74). ![]() There are twelve plates in Schongauer's series which was widely copied across Europe, from France and the Netherlands to Poland and Hungary, in every graphic medium, as well as in painting and sculpture. Such cycles were as yet uncommon in the graphic arts, but were familiar from the illustrations for the canonical Hours of the Cross that appeared in illuminated manuscripts of the earlier fifteenth century. had done before him, and as Albrecht Durer would do later inspired by many of his compositions, Schongauer made a series of engravings of matching size detailing the events of Christ's Passion. (from 'Martin Schongauer: The Complete Engravings' by Max Lehrs pg 27)Īs Master E.S. Schongauer's version is not only filled with agitation, drama and agony characteristic of German art in the fifteenth century, but he has also invested the scenes with a new and vital humanity. Almost all of his predecessors had produced series illustrating the Passion of Christ. ![]() It represents the continuation, on his part, of a traditional subject-cycle for fifteenth century engravers. referring to Max Lehrs, Geschichte und kritischer Katalog des Deutschen. The series of the 'Passion of Christ' consisting of twelve sequential scenes is the largest set of engravings made by Martin Schongauer. In contrast, works by fifteenth-century artists like Martin Schongauer (ca. ![]()
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