German school. Alsace, first third of the 16th century.

German school. Alsace, first third of the 16th century.
"Christ on the Mount of Olives".
Relief. From an altarpiece (2 pieces).
Carved wood, gilded and polychrome.
It shows wear and some losses.
Provenance: former Claer collection, Mulhouse (labels on the back of the two groups).
Measurements: 69 x 47 x 21 cm; 60 x 40 x 20 cm.

This important relief with the theme of the Mount of Olives, from an altarpiece, combines the theatricality of late Gothic with a palpable interest in individualizing the features of the characters and the volume characteristic of the Nordic Renaissance, as well as a desire to work the perspective. Jesus occupies a preferential place, kneeling on a base that simulates piles of stones. With a bowed posture and joined hands, he expresses a deep recollection and anguish. He opens his eyes, conveying restlessness and restrained drama. Her features are fine, framed by wavy hair. The robe is draped with broken folds. The priest sleeping next to Jesus adopts a blessing gesture that iconographically alludes to eternal life. In the second sculptural group, one apostle has fallen asleep on the damp earth and the other sleeps seated, with the palm of his hand cupping his soft cheek. They respect the traditional iconography of the Gospel. In the background, Judas is seen carrying a bag of money, symbol of betrayal. He appears through the door of the wooden fence next to a soldier, anticipating the arrest of Christ. Both characters are represented in bas-relief, in contrast to the high relief of the main characters, which contributes to create a sense of depth and visual hierarchy. The arrangement of the characters in different planes, the contrast between the passivity of the apostles and the imminent betrayal of Judas, and the detail in the gestures and clothing reflect the mastery of the German shepherd sculptural school of the 16th century.

At the dawn of the 16th century, German shepherd religious sculpture still retained the features of late Gothic, characterized by the expressiveness of the faces, the detail in the hair and vestments, and the theatricality of the scenes. However, at this time Renaissance influences began to be perceived in the treatment of the anatomy and in the search for greater naturalness in gestures and postures. Alsace, on the border between Germany and France, was an important artistic center where Germanic and Flemish influences converged. Wood carving was the predominant medium in religious sculpture, with richly decorated altarpieces combining narrative scenes in relief and free-standing figures. Polychromy was common in these works, bringing greater realism and drama to the facial expressions and the folds of the vestments.