1520 (ca.), Bernhard Strigel, Christ Taking Leave of His Mother -- Gemäldegalerie (Berlin)
From the museum label:
The two panels [this and The Disrobing of Christ] were part of a comprehensive retable dedicated to the Passion of Christ, possibly originating from St Nicholas's church at Isny in the Allgäu. The central theme of 'Christ's leave-taking' is Mary's pain in the face of her son's imminent crucifixion: bent with sorrow, she clings to him, while he carefully supports her. Portrayals of this kind, focusing on emotions and suffering, served devotional prayer, since they stirred the empathy of the faithful.
A motif that served devotional prayer also defines the scene in the 'Disrobing of Christ': in the centre of the composition, the maltreated and thorn-crowned 'Man of Sorrows' is turned frontally to the onlookers. He pays no attention to the executioners tugging at his clothes.
1520 (ca.), Bernhard Strigel, Christ Taking Leave of His Mother -- Gemäldegalerie (Berlin)
From the museum label:
The two panels [this and The Disrobing of Christ] were part of a comprehensive retable dedicated to the Passion of Christ, possibly originating from St Nicholas's church at Isny in the Allgäu. The central theme of 'Christ's leave-taking' is Mary's pain in the face of her son's imminent crucifixion: bent with sorrow, she clings to him, while he carefully supports her. Portrayals of this kind, focusing on emotions and suffering, served devotional prayer, since they stirred the empathy of the faithful.
A motif that served devotional prayer also defines the scene in the 'Disrobing of Christ': in the centre of the composition, the maltreated and thorn-crowned 'Man of Sorrows' is turned frontally to the onlookers. He pays no attention to the executioners tugging at his clothes.