  About the Artwork
  
  
  The carefully carved scene is charged with emotion conveyed by the dramatic attitudes of the figures and the complex folds of the voluminous drapery. The finely detailed surface reveals tears on the faces of Nicodemus and the Virgin. The composition is greatly indebted to the painter Rogier van der Weyden (1399–1464). While there is no evidence that Rogier or his shop actually carved wood sculpture, we know that he and other painters collaborated on sculptural projects, polychroming the carved pieces and possibly providing working drawings for sculptors.
  
  
  Title
  The Lamentation
  
  
  Artwork Date
  between 1470 and 1480
  
  Artist
  Master of the Arenberg Lamentation
  
  
  
  Life Dates
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  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Netherlandish
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Flemish and North German oak with traces of polychromy
  
  
  Dimensions
  Overall (image): 34 3/4 × 54 3/4 × 9 3/4 inches (88.3 × 139.1 × 24.8 cm)
  Overall (pedestal (to deck)): 47 × 68 1/2  × 19 inches (119.4 × 174 × 48.3 cm)
  
  
  Classification
  Sculpture
  
  
  Department
  European Sculpture and Dec Arts
  
  
  Credit
  Gift of Mrs. Edsel B. Ford
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  61.164
  
  
  Copyright
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