Распятие с предстоящими {4199}
Crucifixion with attendants
In conception and composition it is quite similar to the "Crucifixion" completed in 1331 on the back of the Klosterneuburg altar.
The similarity extends into the details: The figure of Longinus with the lance and the water-jug beneath the Cross corresponds to the same figure, outer right, on the Klosterneuburg panel (F. Rцhrig, Der Verduner Altar, Vienna 1955, plate 5.4).
The art of both masters stems from that of Giotto. The model for both representations is the multi-figured Crucifixion by Giotto in the Arena Chapel in Padua.
The Zurich panel, with its more full-bodied and densely grouped figures, is closer to Giotto’s style than the master of the panels.

This icon became a model for later crucifixions, e.g., a fragmentary crucifixion in the church of Heilsbronn near Nuremberg, and the two mounted Pharisees appear, albeit altered, in the "Crucifixion" in Berlin, dated mid 14th century.

The group beneath the Cross is repeated exactly on a panel by a Salzburg master around 1420 in Altmьhldorf (Bavaria).
It was probably originally combined with icon {4200} in an altarpiece, as would seem to be indicated by the identical dimensions of the two icons.
Мастер Венский
Vienna Master
Цюрих: Коллекция Е.Г.Бехрле
Zurich: E.G.Buehrle Collection
Above and beside the figures, stylized fronds are painted, with the figures accented by a contour line and a zone of plain gold. The indication of a tree with foliage and blossoms and the direction in which the branches grow suggest that a tree grows out of the lower part of the Cross. This was a common medieval symbol, in which the Cross was compared with the tree of knowledge.
Composite technique on wood. The entire picture is painted on a gold ground. Only the haloes are stippled.
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