Who painted The Virgin in a Robe Embroidered with Ears of Corn?

The Virgin in a Robe Embroidered with Ears of Corn was painted by German 15th Century in 1475.

Where can I see The Virgin in a Robe Embroidered with Ears of Corn?

The Virgin in a Robe Embroidered with Ears of Corn is held by National Gallery of Art.

What movement is The Virgin in a Robe Embroidered with Ears of Corn?

The Virgin in a Robe Embroidered with Ears of Corn is associated with Renaissance.

Artwork

The Virgin in a Robe Embroidered with Ears of Corn

German 15th Century , 1475

The Virgin in a Robe Embroidered with Ears of Corn is an ink print by the Renaissance artist German 15th Century. It dates from 1475 and is held in the collection of the National Gallery of Art. The work is a hand‑colored woodcut depicting a veiled woman in a long blue robe edged with gold embroidery that resembles ears of corn.

About this work

Overview

The work is a hand‑colored woodcut depicting a veiled woman in a long blue robe edged with gold embroidery that resembles ears of corn. She holds a small book or tablet, while a table behind her bears a chalice and a cluster of grapes. The scene is set within a simple interior, framed by a window and a partial figure.

Subject & Meaning

The figure is presented as a virgin, suggested by her modest veil and the symbolic objects—a chalice and grapes—that allude to the Eucharist. The unusual corn‑ear motif in the robe’s decoration may reference fertility or abundance, integrating a secular agricultural element into a devotional context.

Technique & Style

Executed as a woodcut, the image relies on bold, flat areas of color applied by hand in blue, green, orange, yellow, rose and gold. The printing process yields crisp outlines, while the hand‑coloring adds vivid, uniform tones characteristic of early modern printed devotional images.

History & Provenance

The print’s origin, date and ownership trail are not specified in the available data, limiting precise attribution. As a hand‑colored woodcut, it likely circulated as a devotional illustration for private or small‑group use.

Context

Woodcut prints with hand‑applied pigments were common in the late medieval and early modern periods for disseminating religious imagery to a broader audience. The inclusion of agricultural motifs reflects a period when everyday life and sacred themes were often intertwined in visual culture.