Who painted Coronation of the Virgin?

Coronation of the Virgin was painted by Christoffel Jegher in 1633.

Where can I see Coronation of the Virgin?

Coronation of the Virgin is held by National Gallery of Art.

What movement is Coronation of the Virgin?

Coronation of the Virgin is associated with Baroque.

Artwork

Coronation of the Virgin

Christoffel Jegher , 1633

Coronation of the Virgin is an ink print by the Baroque artist Christoffel Jegher. It dates from 1633 and is held in the collection of the National Gallery of Art.

About this work

Overview

Christoffel Jegher’s 1633 woodcut, titled *Coronation of the Virgin*, presents a densely composed, monochrome tableau. The central figure, a robed, curly‑haired woman, hovers above a cloud, grasping a staff topped with a cross. Below her, another figure reclines on a cloud amid swirling drapery, stars, and a hovering dove, creating a sense of kinetic movement across the paper.

Subject & Meaning

The print depicts the traditional Christian episode of the Virgin Mary’s coronation, a symbolic affirmation of her heavenly status. The elevated posture of the central figure, the cross‑staff, and the surrounding celestial elements convey themes of divine authority and sanctified triumph, while the surrounding figures and motifs reinforce the celebratory nature of the event.

Technique & Style

Executed as a woodcut on laid paper, Jegher incised the design into a wooden block, inked the recessed lines, and transferred the image by pressing the paper onto the block. The stark black‑and‑white palette emphasizes line work and contrast, while the intricate carving yields a busy composition filled with overlapping clouds, drapery, and decorative details.

History & Provenance

Created in 1633, the print bears the inscription *CVM PRIVILEGIIS* and Jegher’s signature, indicating it was likely produced under a privileged printing license common in the period. The work survives in several museum collections, reflecting its circulation among early modern devotional prints and its role in disseminating religious imagery before the advent of photography.

Context

During the early 17th century, woodcut remained a vital medium for reproducing religious subjects for a broad audience. Jegher, active in the Low Countries, contributed to a flourishing print market that catered to both private devotion and public liturgical use, situating this piece within a wider tradition of Northern European devotional imagery.