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Man of Sorrows is a small Early Netherlandish oil on wood panel painting completed c. 1485–1495. It is attributed to Geertgen tot Sint Jans and in the tradition of the devotional images of the "Man of Sorrows", which typically show Christ before his crucifixion, naked above the waist, bearing the wounds of his Passion.
The phrase translated into English as "Man of Sorrows" ("אִישׁ מַכְאֹבוֹת ", ’îš maḵ’ōḇōṯ in the Hebrew Bible, vir dolōrum in the Vulgate) occurs at verse 3 (in Isaiah 53): 3) He is despised and rejected of men, a Man of sorrows, and acquainted with grief.
The three mourners are off to the side, separate from the main figure of Christ. According to Niny Garavaglia, this has led to a debate about whether the mourners are a later addition or an incongruous element. Matteo Marangoni believed it to be "out of keeping" with Mantegna's style, but this is not a widely accepted belief. [17]
Mourning portrait of K. Horvath-Stansith, née Kiss, artist unknown, 1680s A Child of the Honigh Family on its Deathbed, by an unknown painter, 1675-1700. A mourning portrait or deathbed portrait is a portrait of a person who has recently died, usually shown on their deathbed, or lying in repose, displayed for mourners.
The body is attended by seven mourners dressed in clothing contemporary to 15th-century Burgundian Netherlands. Among the group of mourners standing at Christ's side, the three female figures are shown with downcast eyes while the two men look directly at Christ. These gazes are reversed in the pair of figures kneeling or crouching at his feet. [1]
Lamentation by Giotto, 1305. The Lamentation of Christ [1] is a very common subject in Christian art from the High Middle Ages to the Baroque. [2] After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
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The mourners from the foreground are reflected in the shield carried on the hip of the lance-bearing Roman soldier who leans on the man to his right wearing a red turban. Smith believes this serves to highlight the mourners' emotional and physical separation from the assorted figures gathered in the mid-ground. [22]