De kruisdraging

Auteur: Albert J. Elen

Deze beschrijving is momenteel alleen beschikbaar in het Engels.

The Passion series (inv. nos MB 1716-1728)

Together with his fellow townsman Hendrick Goltzius (1558-1617) Karel van Mander was the foremost supplier of drawn designs for prints. Unfortunately, most of these drawings have been lost. Museum Boijmans Van Beuningen, however, owns a unique, practically complete series of preliminary drawings¹ for the set of engravings² depicting the Passion of Christ.

The drawings were executed in a technique characteristic of Van Mander, but also popular with his older contemporary Stradanus.³ Each pen drawing was modeled with washes in different shades of blue and brown for the dark areas, creating highlights by leaving these parts untouched by the brush or by adding white bodycolour.⁴ The resulting rich chiaroscuro gives the drawings a painterly quality; it allows for a dark backdrop for the passion scenes and adds to the dramatic effect. Van Mander seems to have adopted this technique earlier on in his career when he was in Italy (1573-1577).⁵ The painterly shading technique had to be graphically translated into hatchings and cross-hatchings, a real challenge for the engraver, who was allowed a great deal of freedom also in working out details.⁶

To facilitate the 1:1 transfer of the image to the copper plate, the drawings were each carefully traced with a blunt needle. While drawing Van Mander took into account that the engraved depictions would become mirror images. The actual engraving was left to artists who specialized in this. Jacques de Gheyn II (1565-1629), who was also the publisher of the print series, accounted for four of them⁷; his gifted pupil Zacharias Dolendo (1561-1604) took care of the remaining ten. The museum owns two sets of the first edition, published in Leiden.⁸

The division of tasks has been inscribed at the bottom of each print. Van Mander is named as the draughtsman with the Latin abbreviations ‘inve.’, ‘inven.’ or ‘invent.’ (invenit = has invented/designed), De Gheyn and Dolendo as the engravers with ‘sc.’, ‘scu.’ or ‘sculp.’ (sculpsit = has engraved), and De Gheyn as the publisher with ‘exc.’ or ‘excu’ (excudit = has published). The print series itself is not dated. Based on the date 1596 written by Van Mander on two of the preliminary drawings, the print series is dated 1596-1598.

The set of design drawings includes one which was not engraved, The Foot Washing (inv. no. MB 1722), which for unknown reasons was left out of the series. Anyhow, it is not an essential scene and probably De Gheyn skipped it in order to limit the number. The preliminary drawings for prints 12 and 13 (ill. 1 and ill. 2) are missing. These must have got lost at some point, perhaps they were less refined in their execution and not considered worthwhile keeping.⁹ The others have always stayed together. After the engravings were finished the set of preliminary drawings has possibly been sold by the publisher who had ordered them from Van Mander and therefore owned them. What happened to them after that time we do not know. The set was eventually purchased for the museum at the Vis Blokhuyzen auction in Rotterdam in 1871, probably together with a set of the print series.

The three artists had worked together on a previous project, in 1595-1596 and just before the Passion series, depicting Eight Repentant Sinners from the Old and New Testament.¹⁰ The prints of that series are larger (circa 200 x 145 mm) than those of the Passion series and Van Mander’s designs for it have not survived. The cooperation between Van Mander and Jacques de Gheyn II goes further back. Around 1589 Van Mander delivered the designs for a print series The Twelve Sons of Jacob, engraved by De Gheyn and first published by Jan Pitten,¹¹ which has similar dimensions as the Passion series. In 1591-1592 the two again worked together on the print series Christ, The Twelve Apostles and St Paul with the Creed,¹² of which the sheets measure approximately 300 x 200 mm, and the designs have neither survived.

The Road to Calvary

This scene is set on hilly grounds just outside the city walls of Jerusalem, a large gate visible in the background. Christ, on his knees, is climbing up the hill in the foreground, Simon of Cyrene giving him an involuntary helping hand carrying the cross. The composition is dominated by three female figures placed in the foreground, one seated at the left, suckling a baby, another also with her child reclining in the right-hand corner. They both concentrate on mothering and do not seem to be aware of what is coming up. The women with the wide-rimmed hat on the left, standing behind the seated mother, on the other hand, is looking at Christ, weeping, drying her eyes with a veil hanging down from her headgear. Possibly, she is Veronica who will use her veil to wipe Christ’s face in a few moments. In the brightly lit centre of the composition, behind Christ, is a small group of people seated, possibly mother Mary, being comforted by other women.

This drawing is the design for the print numbered 9 in the Passion series, engraved and published by Jacques de Gheyn II (ill. 1).¹³

fig. 1 Jacques de Gheyn (II). The Road to Calvary, 1596-1598. Museum Boijmans Van Beuningen, inv. no. BdH 22415