Who painted Christ as the Man of Sorrows?

Christ as the Man of Sorrows was painted by German 15th Century in 1435.

Where can I see Christ as the Man of Sorrows?

Christ as the Man of Sorrows is held by National Gallery of Art.

What movement is Christ as the Man of Sorrows?

Christ as the Man of Sorrows is associated with Renaissance.

Artwork

Christ as the Man of Sorrows

German 15th Century , 1435

Christ as the Man of Sorrows is an ink print by the Renaissance artist German 15th Century. It dates from 1435 and is held in the collection of the National Gallery of Art.

About this work

This painting shows Christ with his hands bound and a crown of thorns.
It's a simple image, but the details are interesting. The colors used are limited, with red lake, yellow ochre, and green dominating the scene.
The artist used these colors to create a somber mood, which fits the sad scene.
You can learn more about this style by looking at the work of the artist: German 15th Century.

Overview

This German woodcut, titled *Christ as the Man of Sorrows*, presents a stark depiction of the crucified figure. Rendered in a single block of carved wood, the image is subsequently hand‑colored with a restrained palette of red lake, yellow ochre, tan and green, emphasizing the solemnity of the scene.

Subject & Meaning

The composition shows Christ with his hands bound and a crown of thorns encircling his head, traditional symbols of his Passion. The restrained coloration and direct pose focus the viewer on the physical suffering and spiritual gravity associated with the Man of Sorrows motif.

Technique & Style

Executed as a woodcut, the work relies on bold line work and high contrast inherent to the medium. After printing, the artist applied hand‑coloring, using red lake for blood‑like accents, yellow ochre for flesh tones, and touches of green to suggest background elements, a common practice among 15th‑century German printmakers.

Context

Produced in the 1400s, the piece reflects the devotional trends of late medieval Germany, where printed images of Christ’s suffering were circulated for private contemplation and liturgical use. The limited palette and emphasis on emotional resonance align with contemporary religious art aimed at fostering personal piety.