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Christ Carrying the Cross (Panel from an Altarpiece), 1400s. Creator: Unknown
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Christ Carrying the Cross (Panel from an Altarpiece), 1400s. Creator: Unknown
Christ Carrying the Cross (Panel from an Altarpiece), 1400s. This panel, most likely one of five narrative scenes representing the Passion of Christ, comes from a now dismembered altarpiece. The central panel was undoubtedly a scene of the Crucifixion. Such carvings in alabaster were frequently painted in vibrant colours with added gilding. The flesh areas of the figures were often left unpainted, with the exception of villains and executioners whose faces were " blackened, " as in this example, a convention that may derive from the medieval stage. English alabaster sculptures were in high demand throughout Europe during the 1300s and 1400s, and exported to Portugal, Spain, Scandinavia, Iceland, and other countries. A soft stone suitable only for interior sculpture, English alabaster was highly prized for its creamy translucency. Of the English quarries, those near Nottingham in the Midlands were the most active
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Media ID 19626581
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This print showcases a panel from an altarpiece titled "Christ Carrying the Cross" created by an unknown artist in the 1400s. Believed to be one of five narrative scenes depicting the Passion of Christ, this panel is a testament to the exquisite craftsmanship and artistic skill of its time. The central panel, which is missing from this dismembered altarpiece, was likely a depiction of the Crucifixion. The remaining panel exhibits intricate carvings in alabaster that were often painted with vibrant colors and adorned with gilding. Interestingly, while most figures have their flesh left unpainted, villains and executioners like those portrayed here had their faces deliberately "blackened". This convention may have originated from medieval stage performances. English alabaster sculptures gained immense popularity across Europe during the 14th and 15th centuries. Quarried primarily near Nottingham in the Midlands, English alabaster was highly sought-after for its creamy translucency. Although it could only be used for interior sculpture due to its soft nature, it remained prized for its aesthetic appeal. This remarkable print not only captures a momentous piece of religious art but also serves as a reminder of England's contribution to European artistic heritage during this period.
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