4x5 transparency scanned on Hasselblad Flextight X1 by Ed Pollard-2018.

Last Judgment

Artist Marx Reichlich (South German, active ca. 1485 - 1520)

CultureGerman

Dateca. 1490

MediumOil and tempera on wood

DimensionsOverall: 77 5/8 x 65 in. (197.2 x 165.1 cm)
Overall, Frame: 81 3/4 x 70 in. (207.6 x 177.8 cm)

Credit LineGift of Walter P. Chrysler, Jr.

Object number71.3098

Collections

European Art before 1945

On View

Chrysler Museum of Art, Gallery 202

DescriptionThis is an oil and tempera on panel painting. Christ is seated in the center of the scene with the Virgin Mary to the left and St. John the Baptist to the right. Centrally located on the panel is Christ. He is seated on a rainbow, wearing a red robe, the folds of which appear so stiff, they look more carved from stone than fabric. His right hand points with two fingers, his left appears to be outstretched in a wave. He wears a decorative halo, and beneath his feet is an orb on which is painted a landscape scene with trees and flowing water. Out of the right side of his mouth comes a stalk of lilies, the left, a double edged sword. There a two angels with trumpets aiming downward announcing the last judgment. The judgement scene is divided into two halves. On the right the Virgin Mary, draped in a green robe, kneels praying. She also wears a decorated halo. She is floating on layers of white clouds above the saints being welcomed into heaven. The saints are ushered in by an angel with green wings, they themselves are naked and pale as marble. There is one who still wears his Emperor's crown, and a Pope who still has on his three tiered papal crown. On the other side, John the Baptist floats before Christ on dark clouds. He is draped in light green and also has a decorated halo. Beneath him are the tormented souls being dragged to eternal damnation. Their skin tone is painted darker, than the pale saints, as if there was actually blood flowing through their veins. The demons dragging them away have odd anatomical arrangements. At the bottom center one of the demons even gives the viewer a toothy grin. Center of the panel are people coming out of squares in the ground, to represent the dead rising for judgement. The top portion of this painting is covered by an elaborate frame, wood carved in ornate arabesques, making the viewing portal in the shape of a Gothic arch.

Label TextMarx Reichlich South German, active ca. 1485–1520 Last Judgment Oil and tempera on wood Spiritual shock and awe. That’s the terrifying message of this Last Judgment scene. Medieval Christians viewed the end times in both universal and personal terms—as the final moment of human history and the instant when Christ would judge their souls. In Marx Reichlich’s painting, Christ descends on his rainbow throne and calls the living and dead to judgment. Despite the chaos on the ground, the painting ultimately offers only two outcomes. Either live a virtuous life and ascend into heaven with the saved on Christ’s right, or be condemned to the fiery pit of hell on his left. Among the damned is a bishop whose crown has been snatched by a demon. The warning is clear: Despite your seeming piety in life, only true virtue will ensure a heavenly reward. Gift of Walter P. Chrysler, Jr. 71.3098 ProvenancePrior to 1953, Liechtenstein collection; acquired by Newhouse Galleries, NY; sold to Walter P. Chrysler, Jr.; gift of Walter P. Chrysler, Jr., to Chrysler Museum of Art, 1971.Published ReferencesThomas W. Sokolowski, "The Chrysler Museum Collection: In-Depth, Last Judgment, Circle of Michael Pacher," The Chrysler Museum Bulletin, Vol. 12, No. 11 (Nov. 1982), ill. Jefferson C. Harrison, "Northern Art, Fifteenth and Sixteenth Centuries," The Chrysler Museum Gallery Guide, Norfolk, VA, 1984, No. 11. Mark St. John Erickson, "Renaissance time for rare altarpiece," _Daily Press_, Sunday, Jan. 19, 1997, illustrated on front page of Arts & Leisure section I. George Keyes, "New, Restored, and Returned," _Historians of Netherlandish Art Newsletter_, (November 1997, Vol. 14, No. 2), 14. _Michael Pacher und Sein Kreis_, exh. cat., Augustiner-Chorherrenstift Neustift, 1998, 257. Jeff Harrison, _Collecting with Vision: Treasures From the Chrysler Museum of Art_ (London: D. Giles Ltd., 2007), 23, fig. 11. David Ekserdjian, "The northern Renaissance response to the Antique before the Sack of Rome," in _Colnaghi Studies Journal_, vol. 08 (London: Colnaghi Foundation, March 2021) 18, fig. 5.