Hans von AachenTyskland, 1552–1615The Crucifixion
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Hvor er »The Crucifixion« i dag? Samling: J. Paul Getty Museum, Los Angeles. Ikke udstillet lige nu. Kontrolleret 7. oktober 2026.
Los Angeles, USA
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Om værket
A diagonal line follows the diminishing figures, from the looming body of the good thief at the extreme left edge, to Christ hanging on the cross in the center, to the bad thief at the right, and finally down toward Jerusalem, lightly sketched in the distance. A tumultuous group of figures and horses crowds around the feet of Jesus at the left, with rearing horses, the Virgin weeping, and Saint John pointing at himself; but the top left of the composition remains open. With such techniques, Hans von Aachen created an effect of dramatic spaciousness. Von Aachen probably made this large and impressive drawing as a preliminary study for a painting. He first sketched the composition extensively in black chalk, which is particularly visible in the torso and hand of the thief in the upper left corner and in the city of Jerusalem in the lower right. Next he laid in the figure groups in gray wash, making extensive use of the white paper for highlights; finally, he worked over the entire composition, defining elements with relatively sparing touches of pen and brown ink.
J. Paul Getty Museum
Oplysninger
- Inventarnummer
- 92.GA.83
I kataloget
Kilder
- J. Paul Getty Museum
- Billede: J. Paul Getty Museum — Open Content
Imens i livet hos Hans von Aachen
Hele livet1574–1587
Copyist in Venice
He joins the community of Netherlandish and German artists, printmakers and art dealers and works as a copyist in the workshop of Gaspar Rem, who arranges an apprenticeship for him with an artist known as Morett (Moretto): he copies famous works in Venice's churches, and many of the copies go to the northern European market. Pieter Isaacsz was his pupil in Italy.
1587
Return to Germany
After long years in Italy he returns to his homeland, first to Augsburg, where he paints portraits for the wealthy Fugger family; he also works in Munich, where he is commissioned to paint two altarpieces for the church of St Michael (other accounts date his return to about 1588).
1589
Chooses Munich as his residence
After visiting his native Cologne and making another trip to Venice, he chooses Munich as his residence and paints several works for Duke William V of Bavaria. Under the influence of the strictly Catholic court he develops an iconography strongly shaped by Counter-Reformation ideas.
