The Pietà

Upper Bavaria
Circle of the Master of Rabenden or his workshop
Late Gothic, first quarter of the 16th Century, ca. 1515/25

Limewood, carved in almost full round, the backside hollowed-out, with largely original polychrome
H. 48 cm. W. 50 cm. D. 22 cm.

PROVENANCE
Private collection, The Netherlands

REFERENCE LITERATURE
Müller, T. (1959). Die Bildwerke in Holz, Ton und Stein von der Mitte des XV. bis gegen Mitte des XVI. Jahrhunderts. Munich: Bayerisches Nationalmuseum, p. 234;
Rohmeder, J. (1971). Der Meister des Hochaltars in Rabenden, Munich: Verlag Schnell & Steiner;
Niehoff, F. (2006). Um Leinberger: Schüler und Zeitgenossen, exh. cat. Spitalkirche Heiliggeist, Landshut, pp. 88-101

CATALOGUE NOTE
Stylistically this group can be placed in Upper Bavaria and is closely related to the work of the Master of Rabenden and his workshop, which demonstrates a distinctive style and highly skilled carving. The Virgin's broad facial-type with small mouth can be compared to the ‘Virgin of Mercy’ by this Master in Fischbachau (Niehoff, 2006, fig. 16). Furthermore, the drapery scheme and composition of the present group recall the Pietà attributed to the artist collection of the Cleaveland Museum of Art (inv.vr. CMA.1938.294). The rendering of Christ's anatomy is very similar to that of the present group, as are the fluid and animated draperies of the Virgin's mantle that are artificially curled when running down to the ground. The present group's quality of carving and its striking naturalistic observation indicate an origin in the immediate circle of the master, if not his workshop.