Christus am Kreuz, mit Maria, Johannes und Maria Magdalena by Joseph Schlotthauer

Christus am Kreuz, mit Maria, Johannes und Maria Magdalena 

drawing, pencil

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drawing

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landscape

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figuration

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pencil

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history-painting

Editor: Here we have Joseph Schlotthauer's pencil drawing, "Christus am Kreuz, mit Maria, Johannes und Maria Magdalena," currently held at the Städel Museum. The stark simplicity really heightens the emotional intensity for me. What immediately captures your attention in terms of formal qualities? Curator: The stark contrast, precisely. Note the artist’s deployment of line to articulate the forms – consider its delicacy defining Christ’s figure against the starkness of the cross. Schlotthauer uses a tightly controlled medium to present complex form and a dramatic moment, which, on closer inspection, complicates any easy reading of grief and mourning. Editor: Complicates? In what way? Curator: Look closely at the figures at the foot of the cross. Their arrangement creates a carefully balanced pyramidal composition that invites the eye to move through each figure individually. They are frozen, nearly, not in expressive lament. Their immobility is what intensifies our contemplation of the Passion. Do you see the artist's geometric reduction of form, particularly in the drapery? Editor: Now that you mention it, their robes do seem quite stylized, almost… sculptural. And you're right; they aren't dramatically mourning. It is so contained and internal. How does the landscape style contribute? Curator: The indistinct, subtly rendered landscape focuses our attention inward, isolating the central figures. Landscape traditionally sets the scene. Here, the minimal details and absence of narrative through line heightens the central, figurative subjects, placing emphasis on the visual structure and allowing for, or perhaps even creating, our own meditation. Editor: I see, the subdued landscape almost forces a concentrated focus on the figures and their careful arrangement. Thank you, I will consider how such geometric composition and the figures’ stasis heightens contemplation. Curator: Indeed. We can clearly understand form without context. Consider how much more there is to learn by way of thoughtful observation.

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