The Crucifixion

circle of the Master of the Figdor Deposition, Haarlem and/or Amsterdam, c. 1505, oil on panel

The fantasy clothing of the foreground figures situates the biblical story in a distant past. The painter also larded this crucifixion scene with elements from his own world: the tall tower in the walled town – Jerusalem – in the background is almost certainly the cathedral of Utrecht. Not everyone follows the story of salvation in the middle ground: in the hills at the left an old traveller continues on his way while an amorous couple dally at the right.

Artwork typepainting
Object numberSK-A-2212
Dimensionsheight 102.5 cm x width 84.5 cm, depth 8.5 cm
Physical characteristicsolieverf op paneel

Identification

Title(s)
- Christ on the Cross
- The Crucifixion
Object type
Object number
SK-A-2212
Description
The fantasy clothing of the foreground figures situates the biblical story in a distant past. The painter also larded this crucifixion scene with elements from his own world: the tall tower in the walled town – Jerusalem – in the background is almost certainly the cathedral of Utrecht. Not everyone follows the story of salvation in the middle ground: in the hills at the left an old traveller continues on his way while an amorous couple dally at the right.
Part of catalogue
Catalogue reference
M.J. Friedlaender, Die Leihausstellung der New Gallery in London, in: Repertorium für Kunstwissenschaft, 1900, p. 257

Creation

Creation
- painter: circle of Meester van de Kruisafneming van Figdor
- painter: Meester van de Kruisafneming van Figdor [rejected]
Dating
c. 1505
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Material and technique

Physcial description
olieverf op paneel
Material
Dimensions
- height 102.5 cm x width 84.5 cm
- depth 8.5 cm

This work is about

Subject
Place

Acquisition and rights

Acquisition
purchase 1905-11
Ownership
Copyright
Public domain
Provenance
…; from Sir Henry H. Howorth (1842-1923), London, fl. 1,200, as follower of Geertgen tot Sint Jans, c. 1490, to the museum, 1905

Documentation

- M.J. Friedlaender, Die Leihausstellung der New Gallery in London, in: Repertorium für Kunstwissenschaft, 1900, p. 257
- J. Kunze, Berliner Museum, Berichte aus der preuss. Kunstsammlungen, 1939, p. 10
- D. Hollanders-Favart, R. van Schoute, et al., Scenes de la Passion du Christ attribuees a Albert Bouts, Paris, Musee Marmottan. Etude de l'execution picturale et de l'iconographie en relation avec les panneaux de l'abbaye Cistercienne de Mehrerau Bregenz (1), in: Arca Roveniensis, Jaarb. 1975. Vrienden Stedelijke Mus. Leuven, 1975, p. 121, noot 17
- M.J. Schretlen, Vroeg werk van Jacob Cornelisz, in: Oud Holland, 1938, p. 149, afb. 4 (vroeg werk van J. Cornelisz)
- B.W.F. van Riemsdijk, in: Bulletin van de Nederlandsche Oudheidkundige Bond, 1906, p. 174 + afb.
- Th. Haakma Wagenaar, De eerste omloop van den Domtoren in de XIVe en XVIe eeuw, in: Jaarboekje van "Oud-Utrecht", 1934, p. 63 (daarvoor School Geertgen genoemd)
- J.E. Snyder, The early Haarlem School, etc., in: Art Bulletin, June, 1960, p. 126, afb. 16 (may reflect a panel by Geertgen)
- Friedländer, V, ed. 1969, nr. 28, p. 34, pl. 22
- Jaarverslag Rijksmuseum, 1905, p. 11 (school Geertgen)

Persistent URL

To refer to this object, please use the following persistent URL:
https://id.rijksmuseum.nl/200109461