Saint John At Calvary In Wood Attributed To Daniel Mauch - Germany - Circa 1500

This superb Saint John in lime is characteristic of the artistic production of Bavaria from the end of the 15th century, beginning of the 16th century. He has almond-shaped eyes, small pursed lips, a curved nose, and thick, curly hair. He wears traditional clothing for 16th century men, tightened at the waist by a belt and covered with a large coat, whose folds and drape give the piece a striking realism. The saint is standing, barefoot, with his head slightly turned to his right, he wipes his tears with a piece of his cloak with his right hand and raises his left hand in reaction to the scene he is observing. Indeed, the posture of Saint John tells us that he was part of a larger ensemble, created for an altarpiece: a scene of the crucifixion of Christ. According to tradition, John “the disciple whom Jesus loved” is present at the foot of the cross at the death of Christ, in the company of Mary. Always to the left of Christ, the Virgin and John, on the right, cry and lament together. The attitude of our Saint John expresses strong emotion and deep pain but also radiates great piety. This work is similar to the work of the German sculptor Daniel Mauch (1477-1540). An artist certified from 1508 in the town of Ulm (Baden Württemberg) where he directed a workshop specializing in carved wooden altarpieces, he is known to have worked the last ten years of his life in the Walloon region. With the Protestant Reformation gaining ground in the German Empire, the demand for religious images collapsed, causing it to lose part of its clientele. Faithful to the Catholic faith, he left the city of Ulm with his family when it declared itself Protestant. He settled in Liège where he worked until the end of his life and left a strong mark on the region's artistic scene. The connection between our piece and this artist is reinforced by another work attributed to Mauch: a Saint Sebastian in lime wood, kept at the Petit Palais, dating from the first decades of the 16th century. The work of the hair, the folds of the clothing, the bare feet on a base of grass, and the dignified but emotion-filled face are elements that confirm our rapprochement. The quality of the wood, traces of polychromy and gilding; added to the great finesse of the carving of this sculpture, offers us a most touching and elegant representation of the saint.