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Anonymous English Education of the Virgin, c. 1400-1425

The Kress Gallery:
This alabaster relief by an unknown English artist depicts the Virgin Mary as a child, being taught to read by her parents. Mary, crowned, reads from a book on a lectern while her parents stand to either side. Saint Anne, her mother, is to her left, gesturing toward the page; her father, Joachim, stands to her right, holding a rosary in his left hand. Stylistically, the work is typical of late fourteenth-century English carving, but its subject matter is unusual. Depictions of the Virgin being instructed by her mother are common, but it is extremely rare to find both parents represented; only one other example, in the Museo Arqueológico Nacional, Madrid, has been recorded.

Although the condition of the relief has deteriorated over the centuries, the delicately carved figures still possess remarkable grace and beauty, and the spirit of the work remains intact.

	Anonymous Southern German (Early 16th century) Christ in Repose (Herrgottsruh), c. 1500

This small panel is a type of devotional image that became popular in northern Italy in the early 15th century and in Germany around 1500. Termed Herrgottsruh (Christ in Repose), the image is drawn from descriptions of Christ's Passion, the sequence of events leading from His betrayal, arrest, and torture to His crucifixion. Unlike most depictions of Christ's humiliation and torture that include crowds of onlookers, however, this interpretation presents Christ as an isolated figure, seated, robed, and momentarily at rest. The Herrgottsruh image emphasizes the dignity of Christ's suffering rather than the physical torment He endured. In the Pomona panel, the figure of Christ, crowned with thorns, a noose draped around his neck, is framed by oddly foreshortened, classical arches. In the distance, one sees a flat landscape and a medieval city.

It is generally agreed that this painting dates to the early sixteenth century, but there has been considerable debate regarding the national origin of the artist. Although the work bears some resemblance to the style of the Italian Ferrarese school, sixteenth-century Italian artists generally had a better grasp of perspective theory than is reflected here. The landscape and the tile floor suggest a Northern European origin, as do Christ's elongated hands, gaunt face and pointed beard. But, while related to Flemish painting, the painting lacks the careful detail and hidden symbolism that are characteristic of that school. The current scholarly consensus is that the panel is the work of a Southern German artist, possibly from Augsburg.

Anonymous Italo-Byzantine Crucifixion, 14th-15th century

The grief-stricken figures of Mary and Saint John flank the figure of Christ in this Crucifixion scene. With her anguished gaze directed downward, the Mourning Virgin holds one hand to her cheek and, with the other, gestures toward her son. Saint John also gestures toward Christ, but he appears more pensive; one hand on his chin, his gaze meets that of the viewer, encouraging us to observe this tragic moment. The background is divided horizontally, the lower half resembling a wall, the upper half, sky. In the upper reaches of the panel, above the arms of the cross, two weeping angels reflect upon the scene, heightening the impact of the image.

This 14th century panel blends characteristics of both Italian and Byzantine traditions. While the angels are Italianate in style, the gold ground, flattened space, and stylized figures are common to Byzantine art, which flourished in Venice at the time. Although the identity of this artist is unknown, it is likely that he was Venetian.