Man of Sorrows 1511

Editor: Here we have Hans Baldung’s woodcut print, "Man of Sorrows," created in 1511. The stark contrast immediately draws me in, it feels… weighty, almost suffocating, with all these figures crammed into a small space. What do you make of it? Curator: Weighted… I like that. It’s as if Baldung isn't just showing us Christ's suffering but is letting the emotional impact, the gravity of it, press down on us too. And the angels…look closer. They’re not cherubic, rosy-cheeked putti are they? There's a certain grimness to their expressions that unsettles, even amidst the Renaissance style. Almost like they know what is to come. Do you see it? Editor: I do now, yes. They’re definitely not your typical adorable angels! More like witnesses to a tragedy. So, it is that the point? To emphasize the burden of Christ's sacrifice? Curator: Perhaps. Or maybe to show that even heavenly beings aren’t immune to sorrow. Notice also Baldung's technical skill here. That is creating a sense of depth, shadow, all within the rigid lines of a woodcut, no easy feat. Consider this: "Ecce Homo" the words floating above, declaring ‘Behold the Man’, what are we supposed to behold exactly? Perfection? Humility? Torture? Editor: I guess it forces you to confront it, doesn’t it? It is way more powerful than simply being told the story, the artwork involves you more intimately into feeling something that is heavy, for you, almost palpable. Curator: Absolutely! Baldung pulls you into the scene. I believe there is also space here to feel moved, you understand? He doesn’t dictate. And it reminds you to look deeper, consider what sacrifice, grief and responsibility really mean in your heart. I keep changing how I see those angels in this woodcut over the years and how they are placed at such close proximity, this tells a lot! Editor: I’m definitely going to spend more time looking at Baldung’s other works after this.