The Man of Sorrows with a Franciscan by Anonymous

The Man of Sorrows with a Franciscan 1490 - 1500

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print

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natural stone pattern

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naturalistic pattern

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toned paper

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print

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stain glass

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handmade artwork painting

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tile art

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coffee painting

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watercolour bleed

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watercolour illustration

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watercolor

Copyright: National Gallery of Art: CC0 1.0

Editor: This is an intriguing print, titled "The Man of Sorrows with a Franciscan," made sometime between 1490 and 1500 by an unknown artist. I’m struck by the raw emotion it conveys, a sense of suffering combined with devotion. What symbols do you see working here, that might amplify that emotion? Curator: Look at how the Franciscan kneels, his gaze fixed upon Christ. The scroll he holds bears the words "Miserere Mei," pleading for mercy. Note how this active engagement contrasts with Christ's passivity, His eyes downcast. This is more than just sorrow; it's an invitation for empathy, to participate in the ritual of seeking redemption. Does this resonate with any contemporary symbol of mourning you recognize? Editor: Well, the blood and wounds are pretty direct symbols of Christ's sacrifice, aren't they? Curator: Indeed, the wounds act as stigmata. But also consider the ‘INRI’ at the top – a declaration, almost legalistic, that ties to specific historical context but it's rendered almost abstract here. Also, notice how the colors work. Do you see any clash of expectations? Editor: Now that you mention it, the vibrant colors are a bit unexpected for such a somber scene, like a stain glass feel? Curator: Precisely! The vibrant color serves to enhance the emotion, doesn't it? It draws our eye to elements within the image, elevating a historical story to one imbued with immediacy. The past brought to the present. It's a very humanistic impulse made visual. Editor: I hadn't thought about the color like that before. So it’s not just a scene of mourning, but a visual call to faith, made potent through recognizable imagery and symbol. Curator: Exactly. A complex dialogue, using shared iconography. Editor: Thanks, seeing the piece that way makes it so much more compelling!

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