In the context of Man of Sorrows (Geertgen tot Sint Jans), analyze the Crucifixion of the Iconography.
The panel shows Christs tortured body at his resting place on Calvary, still carrying the torment of his wooden cross, his knees buckling from its weight. The painting contains many symbols of his Passion. He wears the Crown of Thorns; its spikes spill blood across his face. His arms are heavily lacerated by what appear to be whip marks, and he weakly raises his right hand to display the deep wound to his side, where according to scripture, he was pierced by a lance after his death on the cross. In 1927, Panofsky identified the panel in the tradition of iconic devotional depictions (andachtsbilder) of the "Man of Sorrows", noting especially its focus on the sacrificial aspect of the Passion and its unflinching, yet emotive depiction of physical suffering.In some respects the work is unsophisticated; composed mainly from simplified geometric forms, while there is not much differentiation in the oval, idealised faces of the female figures. The clothes of any of the figures are not especially detailed; their volume and texture only suggested by the heavy folds. However, it is highly regarded for its complex and innovative composition, with many of the elements presented at oblique angles. It is very tightly cropped, for the era it was produced, cutting off the Magdalene and Evangelist would have been considered daring.
Magdalene whip marks Passion Man of Sorrows wooden cross Crown of Thorns Calvary wound lance andachtsbilder scripture Crucifixion