Schongauer's Engravings Author(s): William M. Ivins, Jr. Source: The Metropolitan Museum of Art Bulletin, Vol. 32, No.

3 (Mar., 1937), pp. 69-71 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/3255196 Accessed: 06/10/2009 01:01
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BULLETIN

OF THE METROPOLITAN

MUSEUM OF ART

The Crucifixion often formed the central part of Flemish retables of the late fifteenth and early sixteenth centuries. However, the pitted and worn top surfaces of our relief indicate long exposure to the weather and would lead one to suppose that it had once been set into an outer wall in a manner similar to the famous series of reliefs at Nuremberg by Adam Kraft or to another series at The Cloisters.9Vertical lines on the back of the relief may indicate where the thieves' crosses were placed, one above the Virgin's head and the other above the middle

lene, with an ointment jar between her hands, prostrating herself before the figurenow missing-of the resurrected Christ, who appeared to her in the garden of Gethsemane.11Behind her is one end of Christ's open tomb, shown in false perspective. Her cloak enshrouds her body, breaking into a series of long, concentric folds which follow the curve of the left arm. At the right end of the carving is an unidentified cipher probably representing the initials of < the sculptor's name. While there are all too many similar stylistic documents in France,

FIG. 4. MARY MAGDALENE FRANCO-FIEMISH, XV-XVI CENTURY

of the opposite group. Other missing parts are the heads of six figures in the background and the soldiers' spears, whose positions are established by holes. The drapery of our piece lacks the turbulent twists of the true Flemish style. The garments hang quietly in thick, well-padded folds such as are found on Burgundian sculpture of the detente. The details of the soldiers' costumes also point to the art of the late fifteenth and early sixteenth centuries. On these grounds the relief may be assigned to a Flemish-Burgundian atelier of this date. Of contemporary date with the last sculpture is a beautifully carved black marble relief (fig. 4)10 representing Mary Magda9 Acc.nos. 25.120.487-491, 504. 10 Acc.no. 36.79.3.Gift of John D. Rockefeller, Jr. H. 7X in., w. I ft. i X in. Lefthalfmissing. 69

Flanders, and Spain to make a sure attribution, the svelte curve of the Magdalene's right hand and the general finesse of the figure outlines are suggestive of a French tempering of the Flemish influence, which lingers in the smaller crisscross drapery folds of the cloak. WILLIAMH. FORSYTH.

SCHONGAUER'S ENGRAVINGS
In his sweetness and charm unequaled among the print makers who were his contemporaries, Schongauer may be thought of as the outstanding engraver to come out of the tradition of the Van Eycks and Roger van der Weyden. Although classed as a "primitive," it should never be forgotten that he had this grand tradition behind him " John xx: 14-18.

BULLETIN OF THE METROPOLITAN MUSEUM OF ART and that psychologically he was anything but primitive. To the contrary, in many ways he came at the end of a great movement of thought and expression and resumed in his work the results of the travail of a most remarkable group of predecessors. Schongauer's engravings are so well difficult to secure in any number in impressions of satisfactory quality; for fine Schongauers are not to be had on demand or without watchful waiting over long periods of time. The Museum's print room, which is just entering upon its twenty-first year, has as

i--_?~_

THE VIRGIN

WITH THE

PARROT

BY MARTIN

SCHONGAUER

known and have so often been reproduced and written about that it is impossible today to say anything about them that is not the empty telling of a twice-told tale. They are among the basic prints for every great public collection, and to a certain extent the number and the quality of those in any collection formed along historical lines may be regarded as an indication or touchstone of its age and importance. Of the early masters who were prolific and of whose prints many impressions are in existence, there are few if any whose prints are more
70

yet impressions of somewhat less than half of the I15 pieces that constitute Schongauer's engraved work. The smallness of its collection of these precious engravings, however, is offset by the fact that, with the exception of two or three, they fulfill the most exacting standards of quality. Among the masterpieces in the collection there may be mentioned the Virgin Enthroned by God the Son (the first Schongauer that was bought by the Museum), the Angel and the Virgin of the Annunciation, the Annunciation, the Adoration of the Shepherds, the

BULLETIN OF THE METROPOLITANMUSEUM OF ART

Adorationof the Kings (in a unique first state), the Flight into Egypt, the Baptism of Our Lord, severalof the PassionSeries, the Cross,Christ the great ChristCarrying with Three AnCrucified,the Crucifixion the Virgin gels, Christand the Magdalene, in the Courtyard, the Temptationof Saint

best beloved of the master's prints, a work of art of the kind which once seen is never forgotten. The Virgin with the Parrot, a delicately and elaborately engraved piece done in the master's early period, is shown before the plate underwent any deterioration through wear. The Virgin with the

'Y,I '5? s,

"' ?, 3?i .--?

ot. .,?

THE NATIVITY BY MARTIN SCHONGAUER

Anthony (in the first state), the small Saint George and the Dragon, Saint John the Baptist, Saint Martin, Saint Michael, Saint Veronica, the Infant Saviour, Christ Blessing, the Peasants Going to Market, the Griffin, the Censer, and several of the round coats of arms. Today it is possible for us to record the acquisition of four more specimens of the master's work-the Nativity, the Virgin with the Parrot, the Virgin with the Apple, and the oblong ornament with the birds. The Nativity is one of the most famous and
71

Apple, the largest of Schongauer's single figure subjects, is noteworthy as having been struck off before the disappearance of the transverse scratches across the lower part of the Virgin's dress. The ornament with the birds is the first piece of the master's purely ornamental work to enter the collection. With luck and time it is hoped that we may eventually be able to complete the series on the same high level of excellence that has so far marked its growth.
WILLIAMM. IVINS, JR.