Who painted The Crucifixion with Saint Mary Magdalene?

The Crucifixion with Saint Mary Magdalene was painted by Michael Wolgemut in 1490.

Where can I see The Crucifixion with Saint Mary Magdalene?

The Crucifixion with Saint Mary Magdalene is held by National Gallery of Art.

What movement is The Crucifixion with Saint Mary Magdalene?

The Crucifixion with Saint Mary Magdalene is associated with Renaissance.

Artwork

The Crucifixion with Saint Mary Magdalene

Michael Wolgemut , 1490

The Crucifixion with Saint Mary Magdalene is an ink print by the Renaissance artist Michael Wolgemut. It dates from 1490 and is held in the collection of the National Gallery of Art. Created circa 1490, this hand‑colored woodcut on vellum portrays the crucifixion of Christ accompanied by Saint Mary Magdalene.

About this work

Overview

Created circa 1490, this hand‑colored woodcut on vellum portrays the crucifixion of Christ accompanied by Saint Mary Magdalene. Executed by Michael Wolgemut, a leading Nuremberg painter and printmaker, the image combines a starkly rendered central figure on the cross with a surrounding crowd set against a simplified landscape.

Subject & Meaning

The composition focuses on the moment of Christ’s death, emphasizing his outstretched arms and the sorrowful presence of Mary Magdalene, a traditional figure of penitence. The surrounding onlookers, some weeping and others merely observing, convey a range of devotional responses, inviting contemplation of sacrifice and redemption.

Technique & Style

Wolgemut employed the woodcut process: a design was incised into a wooden block, inked, and pressed onto vellum. After printing, the image was colored by hand, yielding vivid, flat areas of red, blue, and green that contrast with the pale, stylized figures. Sharp linear contours and simplified forms convey emotion without detailed facial realism.

History & Provenance

The print originates from Wolgemut’s prolific workshop, which supplied religious imagery to a growing market for devotional prints in the late 15th century. While specific ownership records are sparse, works of this type were commonly distributed among lay patrons and ecclesiastical institutions across the Holy Roman Empire.

Context

Produced during a period when printmaking was emerging as a primary vehicle for spreading biblical narratives, the piece reflects the expanding role of reproducible art in personal and communal worship. Wolgemut’s workshop, noted for training artists such as Albrecht Dürer, contributed to the diffusion of Northern Renaissance visual culture.