Christ Carrying the Cross

Painting and Sculpture of Europe

c. 1510

Attributed to Hans Maler (German, c. 1480–1526/29)

This narrow panel was probably part of a predella, the supporting lower portion of an altarpiece, which no doubt featured other scenes from the Passion of Christ. It is most likely an early work by Hans Maler, who worked in Ulm in southwestern Germany before settling in the Tyrol. He is now known chiefly for portraits painted in the later part of his career for members of the imperial family and other prominent sitters. His earlier religious paintings are a variant on the expressive, patterned style and vivid characterization of an accomplished group of painters working in Ulm and nearby Memmingen, notably Bartholomäus Zeitblom and Bernhard Strigel.

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Hans Maler
Title: Christ Carrying the Cross
Place: Germany (Object made in)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1505–1515
Medium: Oil on panel
Dimensions: 33.8 × 57.5 cm (13 5/16 × 22 5/8 in.)
Credit Line: Charles H. and Mary F. S. Worcester Collection
Reference Number: 1947.87
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/59912/manifest.json

Ludwig Baldass, “Beiträge zur Hausbuchmeisterfrage,” Oberrheinische Kunst 2 (1926–27), pp. 185–86, pl. 89.
Fritz Saxl, “Die Karlsruher Kreuztragung des Meisters HH (Hans Holbein d. J.?),” Belvedere 9 (1930), pp. 205–08, 210, fig. 118.
Bulletin of the Art Institute of Chicago 24 (1930), p. 82 (ill.).
Otto Benesch, “Beiträge zur oberschwäbischen Bild-nismalerei,” Jahrbuch der preussischen Kunstsammlung 54 (1933), p. 245.
Charles L. Kuhn, A Catalogue of German Paintings of the Middle Ages and Renaissance in American Collections, Cambridge, Mass., 1936, pp. 63–64, no. 262.
Daniel Catton Rich, ed., Catalogue of the Charles H. and Mary F. S. Worcester Collection of Paintings, Sculpture and Drawings, Chicago, 1938, pp. 40–41, no. 40, pl. 28.
Ernst Buchner, review of Ulrich Thieme and Felix Becker, Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart, vol. 37, 1950, in Zeitschrift für Kunst 4 (1950), p. 319.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, 1961, pp. 266–67.
Heinz von Mackowitz, Der Maler Hans von Schwaz, Innsbruck, 1960, pp. 62, 74.
Alfred Stange, “Hans Maler: Neue Funde und Forschungen,” Jahrbuch der Staatlichen Kunstsam-mlungen in Baden-Württemberg 3 (1966), p. 83.
John Maxon, The Art Institute of Chicago, London, 1970, pp. 252 (ill.), 283.
Michael Roth, “Kunstwerk des Monats: Ulmer Mu-seum; April 1996,” brochure, n.pag. (ill.).
Martha Wolff in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago, Chicago, 2008, pp. 382-85, ill.

Art Institute of Chicago, Loan Exhibition of Old Masters, 1928–29 (no cat.).
Art Institute of Chicago, A Century of Progress, 1933, no. 24.

Private collection, France [according to Baldass 1926/27]; Galerie St. Lucas, Vienna, 1926 [Baldass 1926/27]. A. S. Drey, Munich, by 1928; sold to Charles Worcester, Chicago, 1928 [letter from Drey to Worcester, Nov. 26, 1928, Art Institute Archives]; on loan to the Art Institute from 1930; given to the Art Institute, 1947.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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