466:
580:
611:
535:
631:
554:
666:
647:
495:
599:
444:
128:
516:
262:
22:
465:
610:
579:
428:, the term is less likely to be applied to much later images. The English term "devotional image" or "picture" etc. can apply to a wide range of images, in all media, included modern commercially printed reproductions or
412:
observed that the term has now "lost whatever precision it could ever lay claim to, having been applied to virtually any object that might have been used to stimulate devotional experience".. Although works in the
553:
646:
233:
on the sufferings of Christ by intense mental visualization ("imitation") of them and their physical effects. The most extreme, even gruesome, examples often came from the eastern edge of the
630:
340:
of
Northern Europe were increasingly able to afford small paintings or carvings. The depiction was often very "close-up", with a half-length figure occupying nearly the whole picture space.
534:
184:, many images showed a new emphasis on graphically depicted streaming blood, wounds and contorted poses. This process started around 1300, so the influence appears to be from the
725:
199:
versions the other figures and complex architectural background have vanished, leaving only Christ, with a plain background in most painted versions (see the example by
249:
of congealed blood can cover the body. But the style spread all over Europe, including Italy, although the extremes of emotionalism were avoided there until the
72:. The images "generally show holy figures extracted from a narrative context to form a highly focused, and often very emotionally powerful, vignette".
665:
598:
494:
443:
336:
The term is often used specifically for small works intended for personal contemplation in the home. By the 15th century the emerging urban
722:
132:
1070:
515:
979:
949:
361:
1042:
1012:
994:
919:
195:
is a very crowded scene, in which the figure of Christ is often less prominent than those of his captors, but in the
964:
934:
1075:
355:
were influencing large monumental works, a process James Snyder discusses in relation to major works such as
297:
in south-western
Germany in the 14th century, although their history is now believed to be more complicated.
1030:
570:
704:, see their indexes. Schiller's translator always translates the German term to "devotional images" etc.
213:
and suffering of Christ and the figures close to him. Their use was encouraged by movements such as the
589:
174:
had been treated as an intense, isolated image for centuries, at least as far back as the 10th century
472:
422:
418:
384:
238:
141:
733:
624:
subjects, typically, as here, pulling back somewhat compared to
Northern "close-up" treatments.
380:
137:
713:
There are other small types with just two or three figures - see the
Mantegna in the gallery.
356:
372:
566:
409:
230:
200:
164:
8:
1085:
1080:
367:
21:
389:
1048:
1038:
1018:
1008:
985:
975:
955:
945:
925:
915:
456:
348:. However larger works for churches or outdoor display are also covered by the term.
309:
234:
153:
115:
1000:
617:
345:
226:
222:
110:
105:
26:
592:
are expanded, as here, to include heads and disembodied hands of the persecutors.
432:, especially those featuring a portrait-like image rather than a narrative scene.
1035:
Northern
Renaissance Art: painting, sculpture, the graphic arts from 1350 to 1575
729:
656:
637:
506:
481:
425:
218:
49:
659:, c. 1500, avoids Northern emotionalism, but retains the "close up" composition.
521:
501:
485:
477:
451:
93:
87:
31:
1064:
325:
242:
69:
1052:
989:
959:
929:
912:
Pictures and Tears: A History of People Who Have Cried in Front of
Paintings
798:
585:
544:
525:
405:
subject and expanded it into a subject suitable for more monumental works.
337:
127:
99:
61:
1022:
604:
Memling, 1470, showing a typically gentler and less emotive
Flemish style.
429:
321:
313:
301:
57:
246:
398:
214:
176:
76:
561:
540:
305:
282:
158:
170:
269:
81:
79:
around the 14th and 15th centuries, when new subjects such as the
294:
266:
261:
250:
181:
145:
65:
210:
825:
304:, and sometimes are given special places in the rituals of
774:
942:
Nuns as artists: the visual culture of a medieval convent
837:
861:
815:
813:
786:
1007:. Vol. 2 (1st ed.). London: Lund Humphries.
873:
849:
810:
331:
749:
281:The term was first devised for a group of mainly
1062:
640:of the laying-out of the dead Christ, c. 1490.
152:Traditional subjects from the narrative of the
168:were also treated in the same way. Though the
944:. Berkeley: University of California Press.
56:) is a German term often used in English in
547:of the Man of Sorrows with the Arma Christi
300:In churches such images were often given a
974:. Westport, Connecticut: Greenwood Press.
939:
819:
999:
831:
804:
792:
780:
697:
671:Polish crucifix of c. 1500, showing the
260:
126:
75:The term is especially used of Northern
20:
293:, that were thought to have emerged in
64:devotional images designed as aids for
1063:
1029:
909:
892:
879:
867:
855:
843:
768:
693:
122:
807:, pp. 179–180, 190–191, 197–198.
312:might be stored in the cavity of the
969:
755:
417:tradition remained very popular in
13:
972:Medieval Art: a topical dictionary
397:, was a composition often used on
344:subjects were also very common in
14:
1097:
636:A highly original composition by
393:, which included a vision of the
664:
645:
629:
609:
597:
578:
552:
533:
514:
493:
464:
442:
885:
559:One of several versions of the
332:Paintings, carvings, and prints
30:by the Italian Baroque painter
940:Hamburger, Jeffrey F. (1997).
761:
716:
707:
687:
421:for centuries, for example in
209:have a strong emphasis on the
1:
1071:New Testament subjects in art
1037:. New York: Harry N. Abrams.
742:
276:
1005:Iconography of Christian Art
571:Early Netherlandish painting
377:Altarpiece of the Holy Blood
7:
505:by the North German artist
140:, Dutch, 1486, 25 x 24 cm,
10:
1102:
902:
590:Instruments of the Passion
435:
119:became extremely popular.
588:, 1475–79. Sometimes the
473:Christ carrying the Cross
680:
569:, who was influenced by
385:Rothenburg ob der Tauber
351:By the mid-15th century
285:subjects, including the
256:
142:Museum Catharijneconvent
914:. New York: Routledge.
734:National Museum, Warsaw
203:in the gallery below).
910:Elkins, James (2001).
728:July 27, 2011, at the
696:and, much more fully,
455:by the Italian artist
381:Tilman Riemenschneider
273:
237:and beyond in Poland,
149:
138:Geertgen tot Sint Jans
109:, the severed head of
34:
1076:Christian iconography
970:Ross, Leslie (1996).
357:Rogier van der Weyden
264:
245:, where large carved
130:
24:
567:Antonello da Messina
410:Jeffrey F. Hamburger
401:which took a common
231:affective meditation
227:late medieval Europe
201:Antonello da Messina
165:Crucifixion of Jesus
846:, pp. 154–161.
783:, pp. 146–148.
368:Isenheim Altarpiece
188:to other subjects.
123:Subjects and genres
870:, pp. 348–50.
834:, p. 180–181.
408:The art historian
390:Mass of St Gregory
373:Matthias Grünewald
274:
150:
35:
1001:Schiller, Gertrud
981:978-1-4294-7336-1
951:978-0-520-91737-8
795:, pp. 75–76.
771:, pp. 176–78
528:, German, 1450–60
457:Pietro Lorenzetti
375:, and the carved
310:consecrated hosts
235:Holy Roman Empire
229:, which promoted
154:Passion of Christ
116:Virgin of Sorrows
1093:
1056:
1026:
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933:
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835:
829:
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820:Hamburger (1997)
817:
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778:
772:
765:
759:
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736:
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668:
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633:
620:painted several
618:Giovanni Bellini
613:
601:
582:
556:
537:
518:
497:
468:
446:
362:Prado Deposition
223:German mysticism
191:The traditional
111:John the Baptist
106:Veil of Veronica
54:devotional image
27:Veil of Veronica
1101:
1100:
1096:
1095:
1094:
1092:
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1060:
1059:
1045:
1015:
982:
952:
922:
905:
900:
899:
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886:
882:, pp. 306.
878:
874:
866:
862:
858:, pp. 128.
854:
850:
842:
838:
832:Schiller (1972)
830:
826:
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805:Schiller (1972)
803:
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793:Schiller (1972)
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781:Schiller (1972)
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739:
730:Wayback Machine
721:
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698:Schiller (1972)
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688:
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657:Andrea Mantegna
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638:Andrea Mantegna
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507:Meister Francke
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482:Dominican friar
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334:
308:. For example,
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219:Devotio Moderna
125:
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18:Religious image
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5:
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679:
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673:andachtsbilder
670:
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661:
651:
644:
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622:andachtsbilder
615:
608:
606:
603:
596:
594:
584:
577:
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558:
551:
549:
543:of c. 1460 by
539:
532:
530:
522:Pensive Christ
520:
513:
511:
502:Man of Sorrows
499:
492:
490:
486:Barna da Siena
478:donor portrait
470:
463:
461:
452:Man of Sorrows
448:
441:
437:
434:
415:andachtsbilder
403:andachtsbilder
395:Man of Sorrows
353:andachtsbilder
342:Andachtsbilder
338:middle classes
333:
330:
316:in a sculpted
291:Pensive Christ
278:
275:
258:
255:
207:Andachtsbilder
197:andachtsbilder
133:Man of Sorrows
124:
121:
94:Man of Sorrows
88:Pensive Christ
39:Andachtsbilder
32:Domenico Fetti
17:
9:
6:
4:
3:
2:
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1032:
1031:Snyder, James
1028:
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1014:0-8212-0365-7
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921:0-415-93713-2
917:
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908:
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894:
893:Snyder (1985)
891:Discussed by
888:
881:
880:Snyder (1985)
876:
869:
868:Snyder (1985)
864:
857:
856:Snyder (1985)
852:
845:
844:Elkins (2001)
840:
833:
828:
821:
816:
814:
806:
801:
794:
789:
782:
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769:Snyder (1985)
767:Discussed by
764:
758:, p. 12.
757:
752:
748:
735:
731:
727:
724:
719:
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703:
699:
695:
694:Snyder (1985)
690:
686:
674:
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648:
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632:
627:
623:
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616:The Venetian
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423:Baroque Spain
420:
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326:Easter Sunday
323:
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307:
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243:Baltic states
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70:contemplation
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59:
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51:
47:
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41:
40:
33:
29:
28:
23:
16:
1034:
1004:
995:Google books
971:
965:Google books
941:
935:google books
911:
895:, p. 86
887:
875:
863:
851:
839:
827:
822:, p. 3.
800:
788:
776:
763:
751:
718:
709:
701:
700:cover these
689:
672:
652:
621:
586:Hans Memling
560:
545:Master E. S.
526:Arma Christi
500:
471:
450:
430:prayer cards
419:Catholic art
414:
407:
402:
394:
388:
376:
366:
360:
352:
350:
341:
335:
317:
299:
290:
286:
280:
272:of 1390–1400
206:
205:
196:
192:
190:
185:
175:
169:
163:
157:
156:such as the
151:
131:
114:
104:
100:Arma Christi
98:
92:
86:
80:
74:
53:
45:Andachtsbild
44:
43:
38:
37:
36:
25:
15:
756:Ross (1996)
488:, 1330–1350
399:altarpieces
322:Good Friday
314:spear wound
302:side-chapel
215:Franciscans
186:Crucifixion
58:art history
1086:Gothic art
1081:German art
1065:Categories
743:References
509:, c. 1435.
283:sculptural
277:Sculptures
177:Gero Cross
113:, and the
77:Gothic art
42:(singular
732:from the
653:Ecce Homo
573:, c. 1473
562:Ecce Homo
541:Engraving
524:with the
476:, with a
459:, c. 1330
449:An early
426:and Italy
306:Holy Week
239:Lithuania
193:Ecce Homo
159:Ecce Homo
62:Christian
1053:10799841
1033:(1985).
1003:(1972).
990:70764987
960:44962917
930:48025999
726:Archived
723:Examples
320:between
295:convents
267:Bohemian
241:and the
171:Crucifix
162:and the
903:Sources
436:Gallery
251:Baroque
247:gobbets
182:Cologne
146:Utrecht
1051:
1041:
1023:237920
1021:
1011:
988:
978:
958:
948:
928:
918:
702:passim
387:. The
365:, the
346:prints
265:Early
217:, the
66:prayer
50:German
681:Notes
675:style
480:of a
318:Pietà
287:Pietà
270:Pietà
257:Scope
211:grief
82:Pietà
1049:OCLC
1039:ISBN
1019:OCLC
1009:ISBN
986:OCLC
976:ISBN
956:OCLC
946:ISBN
926:OCLC
916:ISBN
324:and
289:and
221:and
60:for
52:for
655:by
565:by
383:at
379:by
371:of
359:'s
225:in
180:in
68:or
1067::
1047:.
1017:.
984:.
954:.
924:.
812:^
484:,
328:.
253:.
144:,
136:,
103:,
97:,
91:,
85:,
48:,
1055:.
1025:.
992:.
962:.
932:.
148:.
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