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Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds
Behold the man
Penitent Magdalene
Venus and Mars
Saints Sebastian, John the Baptist and Francis
Susanna and the Elders
Entertainment in a garden of Albaro
Self-portrait of the painter in the act of painting the portrait of his father
Cain and Abel
Madonna of the candle
Madonna of the veil
Landscape with tree-lined avenue
Sorrowful Christ in the act of blessing
Still life of fruit, vegetables and flowers
Sant’Orsola
Christ and the adulteress
Adoration of the shepherds

Sorrowful Christ in the act of blessing

Hans Memling

Displayed in:

White Palace

White Palace

Via Garibaldi, 11, Genoa

Closed today: open tomorrow at 09:00

Verified profile

The Sorrowful Christ, purchased by the Municipality of Genoa in 1953, comes from the Florentine collection of the Tempi marquises and is unanimously recognized as the autographed prototype of a series of similar images of which there are over a dozen versions, almost all of which are by Italian hand. Some of these were performed in Florence in the sixteenth century, a fact that seems to reinforce the hypothesis of a presence of the work in this ancient city. Two of these copies, respectively kept at the Musée dex Beaux-Arts in Dijon and Strasbourg, came as panels of a diptych coupled with a Mater Dolorosa, the half-figure Virgin in prayer with her face flooded with tears, according to an iconography devotional established in the Netherlands as early as the mid-15th century. The autograph version of the Madonna, probable counterpart to the Genoese panel, has recently been identified in a private collection. The original work was therefore made up of two panels of which the Genoese panel with the mourning Christ in the bust constituted the left compartment and the Virgin the right one. The close relationship between the two figures is highlighted by the position of Christ, turned towards the Virgin, with his right arm in a blessing position, suggesting a three-dimensional effect, also accentuated by the position of his left hand which, emerging in foreshortening, seems almost measure the space between the viewer and the depicted image. In the composition, built with an essential structure of great emotional impact, the meticulous description of some details such as the crown of thorns with the blood running down the face, the tears and the stigmata, reveals Memling's extraordinary and refined pictorial technique.
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Title: Sorrowful Christ in the act of blessing

Author: Hans Memling

Date:

Technique:

Displayed in: White Palace

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