Description
The theme of the Pietà or Vesperbild appears in Germany at the end of the 13th century, reflecting the mysticism of the late Middle Ages. Although the theme does not exist in the Gospels, it was often mentioned in contemporary devotional literature. Indeed, during the first half of the 14th century, mystical thought and devotional practices changed under the impulse of a number of religious, among them Heinrich Suso and St Bridget. In his writings, Suso placed important emphasis on contemplation and meditation in the footsteps of Christ’s martyrdom.
This will have great impact in the field of art, especially in Germany and later in France. The emphasis will from now on be on grief, death is shown in a straightforward way. The wounds of Christ are gaping and bloody. The suffering of Christ and the seven sorrows of the Virgin Mary are meditated upon.
This piece demonstrates the interest of the faithful in these representations where pathos reigns.
The virgin is represented seated in a frontal position. The bust is very elongated. She is wearing a red dress with a simple neckline and a blue mantel covering her body. Her face is slightly bent forward and is looking at the body of her son, which she is holding in both hands on her lap. The calm face of Christ is reminiscent of the romanesque Christs. His right arm is hanging down, indicating the reality of the death. He has protruding ribs and is covered by a long perizonium. Christ’s long hair falls down behind his back.
This Pietà can be compared with a group from The Cloisters museum in New York City. The Virgin Mary and Christ are in a similar position. Christ’s ribs are particularly visible with his right arm hanging down.
Pietà, Allemagne, 1375-1400, The Met Cloisters, 48.85
Pietà, Allemagne, 1375-1400, The Met Cloisters, 48.85