![]() ![]() The emotionally charged pathos of this figure is more characteristic of paintings by Aelbert Bouts than those by his father Dieric (for the artists’ biographies see The Met 30.95.280). His wounds are prominent and blood and tears drip down his face and neck (see Technical Notes). The Attribution: Particular attention is given to the gruesomeness of Christ’s torture. ![]() During the fifteenth and sixteenth centuries, such images served as objects of devotion that invited the viewer to empathize with Christ’s suffering and contemplate his salvation of humankind. Many diptych copies that follow the same prototype, with variations, are extant, and the versions represent a range in artistic quality (see also The Met 71.156–57). ![]() The Met's painting may have been an individual work, or perhaps was once joined with a Mourning Virgin to form a diptych (Sprinson de Jesús 1998). The composition is based on a presumed lost prototype, probably developed in the workshop of Dieric Bouts (active by 1457–died 1475). The Subject: This image depicts Christ as the Man of Sorrows, wearing the crown of thorns and revealing the nail wounds on his hands from the Crucifixion. ![]()
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