Resurrection of Christ
unknown (South German School)
Basic information
- ID
- С-I-235
- Author
- unknown (South German School)
- Name
- Resurrection of Christ
- Previous attributions
- Resurrection. South German School
- Date of creation
- early 16th c.
- Country
- Germany
- Culture
- Late Renaissance
- Technique
- carving polychromy
- Material
- wood
- Dimensions
- 44 x 36 cm (height x width)
Additionally
- Type
- sculpture sculpture (relief)
- Genre
- religious
- Provenance
- Collection of Leon Pininski
Information about author
Object description
This piece belongs to a Gospel cycle that once adorned the interior of a provincial church in the South German region (Swabia – Bavaria – Tyrol). The series was executed by at least two carvers and a polychromist (Faßmaler). They were all members of the same workshop, which initially focused on church construction before shifting to interior decoration. Among the carvers was a more experienced master, who primarily crafted compositions featuring saints. The second hand was an artisan-carver whose work was less refined. This particular relief was executed by this second, less experienced master.
This is the only piece among the five works that does not belong to the Passion of Christ cycle. The high-relief carving presented in the collection depicts the Resurrection scene, which marks the beginning of a new stage following the Passion. Within the interior of the provincial church, this high relief was one of the components that extended the sacred narrative. Positioned frontally in the centre is the figure of the risen Christ. He rises above the tomb lid. His arms are extended to the sides and raised upwards. The drapery of the cloak, billowing around the Saviour's body, is masterfully rendered. Meticulous carving defines Christ's hair, beard, and facial features, whereas the anatomy of his body, arms, and legs is treated in a more generalised, stylised manner. The figure is enveloped in an aura of glory, partially formed by the folds of the cloak and flanked by an arch of stylised, spherical clouds. A halo encircles Christ's head.
The figures of the sleeping soldiers are positioned in the lower section of the relief as complementary compositional elements. One lies beside the tomb, while the second sits on the left, propping his head up with his hand. Both are clad in scale armour and helmets, with greaves protecting their legs. The composition is executed in the tradition of vernacular sculpture, interwoven with the emerging influences of the Early Renaissance.
This is the only piece among the five works that does not belong to the Passion of Christ cycle. The high-relief carving presented in the collection depicts the Resurrection scene, which marks the beginning of a new stage following the Passion. Within the interior of the provincial church, this high relief was one of the components that extended the sacred narrative. Positioned frontally in the centre is the figure of the risen Christ. He rises above the tomb lid. His arms are extended to the sides and raised upwards. The drapery of the cloak, billowing around the Saviour's body, is masterfully rendered. Meticulous carving defines Christ's hair, beard, and facial features, whereas the anatomy of his body, arms, and legs is treated in a more generalised, stylised manner. The figure is enveloped in an aura of glory, partially formed by the folds of the cloak and flanked by an arch of stylised, spherical clouds. A halo encircles Christ's head.
The figures of the sleeping soldiers are positioned in the lower section of the relief as complementary compositional elements. One lies beside the tomb, while the second sits on the left, propping his head up with his hand. Both are clad in scale armour and helmets, with greaves protecting their legs. The composition is executed in the tradition of vernacular sculpture, interwoven with the emerging influences of the Early Renaissance.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery
