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← Marcantonio Raimondi Marcantonio Raimondi — The Crown of Thorns; men putting crown of thorns on Christ who blesses kneeling man, from "The Passion of Christ"

The Crown of Thorns; men putting crown of thorns on Christ who blesses kneeling man, from "The Passion of Christ"

Original title: The Crown of Thorns; men putting crown of thorns on Christ who blesses kneeling man, from "The Passion of Christ", after Dürer

Artist
Marcantonio Raimondi
Date
ca. 1500–34
Medium
Engraving; second state of three
Dimensions
Sheet: 5 3/16 × 3 7/8 in. (13.2 × 9.9 cm)
Credit line
Gift of Henry Walters, 1917

kurzbeschreibung

Unlike many Passion prints that isolate Christ in his suffering, Marcantonio Raimondi's engraving (ca. 1500–34) joins the crowning with thorns to an act of blessing: as soldiers press the crown onto his head, Christ turns to a kneeling man. The subject comes from a small-format Passion series after Albrecht Dürer. This impression is the second state of three.

Description

Christ kneels at the center, surrounded by Roman soldiers. One forces the crown of thorns onto his head, another holds a lance. Looking upward, Christ blesses a man kneeling before him in simple clothing, whose expression is anxious. Columns and arches suggest an ancient setting. The figures are drawn in detail and true to life; fine lines and strokes model the shadows. Even light emphasizes the contours.

Context

Raimondi made this engraving series after designs by Albrecht Dürer; it was produced around 1500–34. As a leading reproductive engraver of the Renaissance, Raimondi spread Dürer's inventions through print across Europe. The series 'The Passion of Christ' follows biblical narratives and served devotional contemplation. The second state of the print reveals revisions Raimondi made to the plate.

Impact

Precise linework and a calm layout give the sheet a solemn, almost meditative mood. Violence and blessing meet, creating an emotional tension that invites reflection on suffering and redemption. The clear arrangement of figures and the architectural backdrop create spatial depth and direct the eye to Christ.

Technique

For this engraving, lines were incised into a metal plate and then printed on paper. Fine hatching and cross-hatching produce nuanced grays and volume. The impression is the second state of three, indicating later changes to the plate.

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Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)