Who painted Christ on the Cross between the Virgin and Saint John?

Christ on the Cross between the Virgin and Saint John was painted by Gabriel Zehender in 1517.

Where can I see Christ on the Cross between the Virgin and Saint John?

Christ on the Cross between the Virgin and Saint John is held by National Gallery of Art.

What movement is Christ on the Cross between the Virgin and Saint John?

Christ on the Cross between the Virgin and Saint John is associated with Renaissance.

Can I buy a print of Christ on the Cross between the Virgin and Saint John?

Museum-quality prints of Christ on the Cross between the Virgin and Saint John are available made-to-order from Artifact World Gallery.

Artwork

Christ on the Cross between the Virgin and Saint John

Gabriel Zehender , 1517

Christ on the Cross between the Virgin and Saint John is an ink print by the Renaissance artist Gabriel Zehender. It dates from 1517 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:by later hand, lower verso in graphite: _Missale diosc. Argenin._ Hagenoae, Thom Anshelm, 1520 _Weale_-89-_Muther_ 1684 (1519)

About this work

Overview

Gabriel Zehender’s woodcut, dated 1517, depicts the crucifixion of Christ flanked by the Virgin Mary and Saint John. Executed on laid paper, the image presents a stark, nocturnal sky and a distant settlement, framing the central drama of the Passion.

Subject & Meaning

The composition centers on the crucified Christ, his head encircled by a crown of thorns and his arms outstretched. At the foot of the cross, the Virgin Mary is shown in a long robe with clasped hands, while Saint John, in simple attire, gazes upward, embodying sorrow and devotion.

Technique & Style

Zehender employs precise, incised lines to render the texture of fabric folds and the musculature of the figures. The tight rendering of the Virgin’s interlaced fingers exemplifies the artist’s attention to minute detail, while the contrast between dark clouds and illuminated figures creates a dramatic chiaroscuro effect typical of early 16th‑century woodcuts.

Context

Produced during the height of the Northern Renaissance, this print reflects the period’s emphasis on devotional imagery for private contemplation. Woodcuts such as this were widely circulated, allowing the visual narrative of the crucifixion to reach a broad audience beyond the confines of church altarpieces.