Karel Škréta, 1630 - Mocking of Christ - fine art print

Additional information from Belvedere (© - Belvedere - Belvedere)

In this illustration, the Mocking of Christ is the so far earliest known work of the Czech Baroque painter Karel Škréta. The artist has provided to the right arm of his chair with his initials and dated. Although the year is not entirely legible, the picture has been completed with great probability in the year 1630th At that time, the native of Prague held no longer in his home on; 1627 he left his native city. This year, Emperor Ferdinand II. "Verneuerte state order" was entered in Bohemia in force, which declared Catholicism as the only permitted religious denomination and other faiths as alternatives only the conversion or exile offered. Previously it was assumed that Škréta, as some left from his family because of his Protestant faith the country. He himself after his return to Prague - in the meantime converted - lasting as the reason for his trip about ten years repeatedly cited perfecting one's own artistic abilities and experience, however. particularly influential in this regard his stay of several years in Italy should be for Škréta, the u him. a. led in the art centers of Venice, Bologna and Rome. The earliest in 1630 he set off to the south; this painting was created before this so groundbreaking for its style journey. Especially the northern alpine art of the previous 16th century seems to have been effective in "Mocking of Christ" as a model. Early on, researchers have stated a Cranach'schen influence, which, had it given its temporary untraceable and its special role in the artist's oeuvre, are almost legendary. But the picture is formally also the artistic tradition of his home environment Škrétas committed -. Art at the court of Rudolf II in 1583, this emperor had his residence from Vienna to Prague embarrassed, making the city on the Vltava experienced a political and cultural flowering. Škréta himself was born in the time of the subsequent crisis, was forced to abdicate as Rudolf II and his court painter -. Joseph Heintz d. Ä. (1609), Bartholomew Spranger (1611), Paul van Vianen (1614), Hans of Aachen (1615) - one behind the other died at short intervals. In particular, the final Different is to lead as a stylistic reference for "Mocking of Christ". Škréta has shown the moment in the Passion in the painting when the Heiland after the interrogation at the Kaiphas thugs has been passed and this beat, and spit it mock (Mt 26.67; Mk 14.65; Lk 22,63- 55). This scene is not to be confused with the crowning with thorns after the second interrogation at Pilatus, which has been taken much more frequently as a theme in art. The rightmost edge of the picture tormentors grabs Christ the forelock hair and pulls his head back while the bells Erten spit (no tears!) Runs down the cheek. Probably dates back to the secretion from the second henchmen in the dark, a gown from Luther's time resembling - and reminiscent of Cranach - robe, who has moved his face into a grimace. The third looks in the league and gesturing towards the victim of mockery. Christ himself is clearly idealized represented as his brutish tormentors. Also in the way of applying paint, the figures differ: are made during the scoffers in free, sometimes impasto brushwork, have clothes and flesh tones of the Savior a rather smooth stroke and a soft and sophisticated surface modeling. For all figures, however, is equally combining their expressive gestures. In the recent research it has been, associated with John Bulwer's work to the natural language of the hands, "Chirologia" (London 1644). The publication contains so-called Chirogramme where are listed with their meanings hand and finger gestures. The hand movement of the left thugs, are brought together in the middle and ring finger with the thumb while the index finger and little finger are spread apart, corresponding to the ridicule gestures "stultitiae notam Infigo" and "Exprobrabit". They are also known as "horn" and mock Christ as fool and gate. The tormentors with red hood, however, makes known his dislike of the Savior with the gesture of the "fig". This hand position at which the thumb between the index and middle finger is guided, has a sexual connotation; in Bulwer it stands as "Improbitatem objicio" for excess and outrageous. Christ 'interdigitated hands eventually resemble Bulwer "Ploro" -Gestus, is awarded with the the silent action in his hopeless situation emphatically. By using such explicit and more powerful gestures of the viewer into an emotional reenactment of religious events shown should - be stopped - in this case to Jesus humiliation and utter helplessness. [Maike Hohn / Georg Lechner, 11/2017]

Specification of the print product

This work of art was made by Karel Škréta. The beyond 390 year old original version measures the size - 115 x 90 cm - frame: 130 x 104 x 7 cm. Oil on canvas was used by the painter as the technique for the piece of art. Monogram and dated on the back of a chair: CSF 163 [0] is the artpiece's inscription. The work of art can be viewed in in the digital art collection of Belvedere, which is one of Europe's most famous museums with three locations that blends the experience of architecture and art in a unique way. With courtesy of © Belvedere, Vienna, inventory number: 1654 (licensed - public domain). : purchase from Andreas Wild Hack, Vienna in 1914. The alignment is portrait and has an image ratio of 3 : 4, meaning that the length is 25% shorter than the width. Karel Škréta was a painter, whose art style was primarily Baroque. The Baroque artist lived for a total of 64 years, born in 1610 in Prague and deceased in the year 1674.

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For every product we offer different sizes & materials. We allow yout to choose among the following variants:

• The acrylic glass print: A glossy acrylic glass print, which is sometimes labelled as a an art print on plexiglass, makes the original artwork into beautiful décor and forms a great alternative to canvas or dibond prints. Your favorite work of art is being custom-made with the help of state-of-the-art UV direct print machines. It makes vibrant and deep color tones. The major upside of an acrylic glass fine art copy is that contrasts as well as small artwork details will be more visible due to the subtle gradation in the picture.
• Aluminium dibond print (metal): Aluminium Dibond prints are prints on metal with an outstanding depth effect, which makes a modern look by having a surface structure, which is not reflective. For your Print On Aluminum Dibond, we print the chosen artwork onto the aluminium composite white-primed surface. The bright components of the artpiece shimmer with a silky gloss, however without glow. The colors of the print are vivid and luminous in the highest definition, the details appear crisp and clear.
• The poster print (canvas material): A poster is a UV printed sheet of flat canvas paper with a fine surface structure, which resembles the actual masterpiece. It is optimally appropriate for placing your fine art print with the help of a personal frame. Please note, that depending on the absolute size of the poster we add a white margin of approximately 2-6cm round about the work of art to facilitate the framing with a custom frame.
• The canvas print: The canvas print is a printed canvas stretched on a wooden frame. Canvas prints are relatively low in weight, meaning that it is easy to hang your Canvas print without any wall-mounts. Because of thata canvas print is suited for any kind of wall.

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Legal note: We try everything to describe our art products as exact as possible and to exhibit them visually on the various product detail pages. At the same time, the pigments of the printed materials, as well as the imprint might diverge to a certain extent from the representation on your screen. Depending on your screen settings and the quality of the surface, colors might not be printed as realisitcally as the digital version shown here. Given that all art reproductions are processed and printed manually, there may also be slight deviations in the size and exact position of the motif.

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