Lejman, Beata, Malarstwo Europy Środkowej XVI-XVIII w. Niemcy, Austria, Czechy, Węgry, Słowacja. Katalog zbiorów., Wrocław 2012, seria Katalogi Zbiorów Muzeum Narodowego we Wrocławiu, kat. 59, il.
This painting, highly regarded by King of Prussia, Frederick II the Great, was painted in Nuremberg, where the artist probably worked for Albrecht Dürer, and became the official painter of this city in 1532. The work reveals Pencz's talent as a portrait painter, who in the same year also produced an exquisite, psychologically profound portrait of a young man on display in the Uffizi Gallery in Florence, and confirms inspiration by Angelo Bronzino's work. The sophisticated, Mannerist colour palette and the elaborate twist of Christ's torso result from the familiarity of Pencz with Italian art, acquired during his stay there from 1539 to 1542. The painter makes a reference to the model of contemplative Dutch images of Our Saviour, but avoids their drastic character in favour of Italian imagery, especially that of Andrea Solario and Dürer, in which suffering makes way for an expression of the power of Christ. The greening crown of thorns, painted in subtle tones of grey, ochre and green obtained from the ivory black pigment, is a pre-announcement of His triumph over death. "My kingdom is not of this world," said Christ, hence it is not a royal crown of gold and precious stones, but a crown of a thorn bush, fit for the Redeemer who suffered for the sins of the world. The author of this extraordinary image was banished from Nuremberg for being a godless person – a telling proof of the failures of human justice.
[Beata Lejman]
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