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Master of the Stötteritz Altar (German, active late 15th century)

Mother of Sorrows

Mother of Sorrows

c. 1480
oil on panel
8 3/4 x 6 1/2 in.

Gift of Mrs. Clifford G. Schultz in memory of Mr. Clifford G. Schultz, AG.1984.1.1

This painting is one of only six known works attributed to the anonymous artist, whose identity comes from his association with the Stötteritz Altarpiece, a triptych located in the church at Leipzig-Stötteritz in Germany. His work, including this Mother of Sorrows, exemplifies the heightened realism and emotional drama that characterized Northern Renaissance painting.

With painstaking acuity the artist has articulated the expressive details of the Madonna's features, costume, and gesture. Her sorrow is explicitly revealed in her red swollen eyes and the tears that fall upon her cheeks. The Madonna extends her left hand out to the viewer in a gesture of intercession, welcoming the prayers of the faithful. This panel was the left half of a portable hinged diptych designed for personal devotion. Traditionally, the subject of the grieving Madonna was paired with an image of Christ as the Man of Sorrows. Mary's gesture of grasping her mantle can be interpreted as a prelude to wiping the brow of the suffering Christ in the missing panel. The window ledge in the foreground enhances the sense of three-dimensional space, an artistic technique perfected during the Renaissance, whereas the flat, gilded background harkens back to more archaic medieval traditions.

Visitor's Comments:

"Sweet and tender - compelling example of Mother of Sorrows. I love the sweet kind face - her hand out to the suffering people." - anonymous

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Permanent Art Location: 
German
Permanent Art Life Span: 
active late 15th century
Catalog Number: 
AG.1984.1.1
Permanent Artist First Name: 
Master of the
Permanent Artist Last Name: 
Stötteritz Altar
Permanent Image: 
Add "c."?: 
Yes
Permanent Year: 
1480
Permanent Period: 
Medieval and Renaissance Art
Permanent Material: 
oil on panel<br />8 3/4 x 6 1/2 in.

This painting is one of only six known works attributed to the anonymous artist, whose identity comes from his association with the Stötteritz Altarpiece, a triptych located in the church at Leipzig-Stötteritz in Germany. His work, including this Mother of Sorrows, exemplifies the heightened realism and emotional drama that characterized Northern Renaissance painting.

With painstaking acuity the artist has articulated the expressive details of the Madonna's features, costume, and gesture. Her sorrow is explicitly revealed in her red swollen eyes and the tears that fall upon her cheeks. The Madonna extends her left hand out to the viewer in a gesture of intercession, welcoming the prayers of the faithful. This panel was the left half of a portable hinged diptych designed for personal devotion. Traditionally, the subject of the grieving Madonna was paired with an image of Christ as the Man of Sorrows. Mary's gesture of grasping her mantle can be interpreted as a prelude to wiping the brow of the suffering Christ in the missing panel. The window ledge in the foreground enhances the sense of three-dimensional space, an artistic technique perfected during the Renaissance, whereas the flat, gilded background harkens back to more archaic medieval traditions.

Permanent Gift: 
Gift of Mrs. Clifford G. Schultz in memory of Mr. Clifford G. Schultz
Permanent Quote: 
"Sweet and tender - compelling example of Mother of Sorrows. I love the sweet kind face - her hand out to the suffering people." <strong>- anonymous</strong>
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This painting is one of only six known works attributed to the anonymous artist, whose identity comes from his association with the Stötteritz Altarpiece, a triptych located in the church at Leipzig-Stötteritz in Germany. His work, including this Mother of Sorrows, exemplifies the heightened realism and emotional drama that characterized Northern Renaissance painting.

With painstaking acuity the artist has articulated the expressive details of the Madonna's features, costume, and gesture. Her sorrow is explicitly revealed in her red swollen eyes and the tears that fall upon her cheeks. The Madonna extends her left hand out to the viewer in a gesture of intercession, welcoming the prayers of the faithful. This panel was the left half of a portable hinged diptych designed for personal devotion. Traditionally, the subject of the grieving Madonna was paired with an image of Christ as the Man of Sorrows. Mary's gesture of grasping her mantle can be interpreted as a prelude to wiping the brow of the suffering Christ in the missing panel. The window ledge in the foreground enhances the sense of three-dimensional space, an artistic technique perfected during the Renaissance, whereas the flat, gilded background harkens back to more archaic medieval traditions.

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Permanent Gift: 
Gift of Mrs. Clifford G. Schultz in memory of Mr. Clifford G. Schultz
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Permanent Quote: 
"Sweet and tender - compelling example of Mother of Sorrows. I love the sweet kind face - her hand out to the suffering people." <strong>- anonymous</strong>
[#printed] => 1 ) [#title] => [#description] => [#children] =>
Permanent Art Location: 
German
Permanent Art Life Span: 
active late 15th century
Catalog Number: 
AG.1984.1.1
Permanent Artist First Name: 
Master of the
Permanent Artist Last Name: 
Stötteritz Altar
Permanent Image: 
Add "c."?: 
Yes
Permanent Year: 
1480
Permanent Period: 
Medieval and Renaissance Art
Permanent Material: 
oil on panel<br />8 3/4 x 6 1/2 in.

This painting is one of only six known works attributed to the anonymous artist, whose identity comes from his association with the Stötteritz Altarpiece, a triptych located in the church at Leipzig-Stötteritz in Germany. His work, including this Mother of Sorrows, exemplifies the heightened realism and emotional drama that characterized Northern Renaissance painting.

With painstaking acuity the artist has articulated the expressive details of the Madonna's features, costume, and gesture. Her sorrow is explicitly revealed in her red swollen eyes and the tears that fall upon her cheeks. The Madonna extends her left hand out to the viewer in a gesture of intercession, welcoming the prayers of the faithful. This panel was the left half of a portable hinged diptych designed for personal devotion. Traditionally, the subject of the grieving Madonna was paired with an image of Christ as the Man of Sorrows. Mary's gesture of grasping her mantle can be interpreted as a prelude to wiping the brow of the suffering Christ in the missing panel. The window ledge in the foreground enhances the sense of three-dimensional space, an artistic technique perfected during the Renaissance, whereas the flat, gilded background harkens back to more archaic medieval traditions.

Permanent Gift: 
Gift of Mrs. Clifford G. Schultz in memory of Mr. Clifford G. Schultz
Permanent Quote: 
"Sweet and tender - compelling example of Mother of Sorrows. I love the sweet kind face - her hand out to the suffering people." <strong>- anonymous</strong>
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