The Circumcision of Christ, Hendrick Goltzius

Artwork Overview

Hendrick Goltzius, The Circumcision of Christ
Hendrick Goltzius, The Circumcision of Christ
Hendrick Goltzius
The Circumcision of Christ
1594
Hendrick Goltzius
1558–1617
The Circumcision of Christ, 1594
Portfolio/Series title: The Life of the Virgin
Where object was made: Netherlands
Material/technique: engraving
Dimensions:
Plate Mark/Block Dimensions (Height x Width): 473 x 352 mm
Plate Mark/Block Dimensions (Height x Width): 18 5/8 x 13 7/8 in
Mat Dimensions (Height x Width): 25 x 20 in
Credit line: Museum purchase
Accession number: 1969.0005
Not on display
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Images

Label texts

Archive Label 2003: The Circumcision belongs to a series of six “masterpieces” in which Goltzius demonstrated his proficiency in emulating the styles of other artists. The Circumcision is a work in imitation of Albrecht Dürer; while Goltzius mimics Dürer’s style, however, he makes clear that the work is his own, for he includes both his own initials at the bottom and a self-portrait in the background. Goltzius anachronistically includes himself in this historical scene and makes his presence known by establishing eye contact with the viewer.

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 105 Jun-2007, Stephen Goddard I’m David Cateforis with another Art Minute from the Spencer Museum of Art. The Dutch artist Hendrik Goltzius is considered one of history’s greatest virtuoso printmakers, and the six engravings that constitute The Life of the Virgin were hailed as his masterworks in the artist's own day. The Spencer owns the complete suite of The Life of the Virgin, created in 1593 and ‘94. In each engraving, Goltzius transforms his style to demonstrate a rigorous understanding of a different artistic personality. The best known of these are the sheets in the manner of the great Renaissance masters active two generations before Goltzius-Albrecht Dürer in Germany and Lucas van Leyden in the Netherlands. In fact, Goltzius' Circumcision so convincingly evoked Durer that it was proclaimed to be a lost work by the German master. An inscription in Latin on the first sheet of the series compares Goltzius to Proteus, the classical god of constantly changing shapes: “Just as Proteus, captivated by eager love for the graceful Pomona, transformed himself in the midst of the waves,” so too, “through his immutable art Goltzius, astonishing engraver and inventor, transforms himself.” With thanks to Steve Goddard for his text, from the Spencer Museum of Art, I’m David Cateforis.