"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018

"Among the figures, Christ is arguably less interesting than the thieves (...)

Anatomically highly expressive, the 'good thief' hangs with his arms behind the cross—naked and subjected to perverse torture. It remains unclear why his genitals were not fully carved. It is conceivable that the artist was prevented from doing so by the patron, yet by that stage of the work, he could no longer carve a loincloth like the one worn by the 'bad thief.' A textile covering for the groin was likely never intended, as it would have represented an out-of-context solution. Full-frontal nudity was a rarity in Germany prior to 1500 (with the exception of the Christ Child). Michelangelo, however, dared to do it in 1493/94—at the age of eighteen—with his *Crucifix* for Santo Spirito in Florence. And going a step further: sometime before 1512, Albrecht Dürer became perhaps the first artist worldwide to create a full-frontal nude self-portrait—albeit as a private drawing. One can sense it: the times were changing."

see: *Self-Portrait as a Nude* by Albrecht Dürer

Pablo de la Riestra

*The Revolt of Gothic* (Die Revolte der Gotik)

Late Gothic Architecture in Central Europe,

Book chapter: Quality of the Sculpture, pp. 414–415,

Kunstverlag Josef Fink 2018