16 Items in this Learning Collection
Resource with 21 media
Collection Object
Collection Object
Collection Object
Collection Object
Collection Object
Collection Object
Collection Object
Collection Object
Collection Object
![A crowd gathers in the side chapel of a church around a group of seated figures and an infant. A man with a long flowing beard sits and holds the infant in his hands above a plate, while another man leans forward in his chair and peers through his spectacles at the child as he performs a circumcision. A plaque with the artist's initials, "HG," lies on the floor in the foreground.](/media/W1siZiIsIjIwMjIvMDUvMjUvMWF2bDN6YjJtNV9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=4b3872ade2eaeb7e "A crowd gathers in the side chapel of a church around a group of seated figures and an infant. A man with a long flowing beard sits and holds the infant in his hands above a plate, while another man leans forward in his chair and peers through his spectacles at the child as he performs a circumcision. A plaque with the artist's initials, "HG," lies on the floor in the foreground.")
Collection Object
Collection Object
![This woodcut print is vertically oriented. The upper half of the piece is celestial with an angel standing on a cloud blowing a trumpet. Men on fire-breathing beasts exit from the clouds. At the very top center, a white-bearded figure, shown from the torso to the head, holds four trumpets. Rays emanate from his head to form a halo, and he is framed in a half circle. Directly below him is an altar with vines on the sides and four child-faces spitting water out. The upper right corner features an angel blowing a trumpet and the upper left features a smiling angel with hands clasped in prayer. The lower half of the print is terrestrial and depicts a chaotic battle scene. Four angels with wings and swords attack a crowd of men, including a pope, a bishop and a king, as well as commoners. These figures are all crowded into the foreground with contorted postures. There is a city on a hill visible in the distance. The center bottom has Dürer’s signature of letter "D" contained within a letter &q](/media/W1siZiIsIjIwMjIvMDUvMjUvOG9lZzczejlmOF9kZWZhdWx0LmpwZyJdLFsicCIsInRodW1iIiwiMjQweDIwMCJdXQ?sha=dedaf9d225a350d0 "This woodcut print is vertically oriented. The upper half of the piece is celestial with an angel standing on a cloud blowing a trumpet. Men on fire-breathing beasts exit from the clouds. At the very top center, a white-bearded figure, shown from the torso to the head, holds four trumpets. Rays emanate from his head to form a halo, and he is framed in a half circle. Directly below him is an altar with vines on the sides and four child-faces spitting water out. The upper right corner features an angel blowing a trumpet and the upper left features a smiling angel with hands clasped in prayer. The lower half of the print is terrestrial and depicts a chaotic battle scene. Four angels with wings and swords attack a crowd of men, including a pope, a bishop and a king, as well as commoners. These figures are all crowded into the foreground with contorted postures. There is a city on a hill visible in the distance. The center bottom has Dürer’s signature of letter "D" contained within a letter &q")
Collection Object
Collection Object
Collection Object
Collection Object
Copyright
All Rights Reserved
()
Descent from the Cross by Torchlight
Accession Number
1991/2.77
Title
Descent from the Cross by Torchlight
Artist(s)
Rembrandt van Rijn
Object Creation Date
1654
Medium & Support
etching and drypoint on laid paper
Dimensions
10 7/16 x 6 3/4 in. (26.5 x 17 cm);19 3/8 x 14 3/8 in. (49.1 x 36.5 cm)
Credit Line
Gift of Alice Berle Crawford
Label copy
While Rembrandt's "Descent from the Cross" of 1633 is affecting because of its dramatic action, realism, and show of emotion, this version touches us by its powerful dark and light contrasts, abstraction, and the focus on the inner responses of the participants.
Rembrandt daringly cropped the cross, placing the scenc of the Descent at the left edge of the composition. By compressing the figures, he increased dramatic tension while creating an intimate mood. The long diagonal of the winding cloth draws our eyes rightward from the top left down to the limp body of the dead Christ, held by a man tottering under the weight, beside whom appears a raised hand, sharply illuminated. Rather than the supernatural rays of the earlier print, here the torch held by one of the leftmost helpers is the sole light source. To concentrate the action, the artist left large expanses of paper nearly bare and created large areas of sheer darkness. The placement of the bier in the foreground makes it seem nearly part of our space, enhancing the personal quality of this print. Rather than display anguish, the figures seem to bear their sorrow inwardly. The emphasis is on Christ's suffering, as seen in his utterly exhausted expression and the wrenching detail of one foot still nailed to the cross.
Exhibition labe text by Dr. Annette Dixon for "Bold Strokes: The Inventiveness of Rembrandt's Late Prints," February 24 - April 28, 1996.
Primary Object Classification
Print
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Keywords
Crucifixion (religious theme)
Jesus Christ
John
Mary
graves
night
torch
1991/2.77
Title
Descent from the Cross by Torchlight
Artist(s)
Rembrandt van Rijn
Object Creation Date
1654
Medium & Support
etching and drypoint on laid paper
Dimensions
10 7/16 x 6 3/4 in. (26.5 x 17 cm);19 3/8 x 14 3/8 in. (49.1 x 36.5 cm)
Credit Line
Gift of Alice Berle Crawford
Label copy
While Rembrandt's "Descent from the Cross" of 1633 is affecting because of its dramatic action, realism, and show of emotion, this version touches us by its powerful dark and light contrasts, abstraction, and the focus on the inner responses of the participants.
Rembrandt daringly cropped the cross, placing the scenc of the Descent at the left edge of the composition. By compressing the figures, he increased dramatic tension while creating an intimate mood. The long diagonal of the winding cloth draws our eyes rightward from the top left down to the limp body of the dead Christ, held by a man tottering under the weight, beside whom appears a raised hand, sharply illuminated. Rather than the supernatural rays of the earlier print, here the torch held by one of the leftmost helpers is the sole light source. To concentrate the action, the artist left large expanses of paper nearly bare and created large areas of sheer darkness. The placement of the bier in the foreground makes it seem nearly part of our space, enhancing the personal quality of this print. Rather than display anguish, the figures seem to bear their sorrow inwardly. The emphasis is on Christ's suffering, as seen in his utterly exhausted expression and the wrenching detail of one foot still nailed to the cross.
Exhibition labe text by Dr. Annette Dixon for "Bold Strokes: The Inventiveness of Rembrandt's Late Prints," February 24 - April 28, 1996.
Primary Object Classification
Collection Area
Western
Rights
If you are interested in using an image for a publication, please visit http://umma.umich.edu/request-image for more information and to fill out the online Image Rights and Reproductions Request Form.
Keywords
Crucifixion (religious theme)
Jesus Christ
John
Mary
graves
night
torch
