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Sculpture

Corpus of Christ, from the Altarpiece of the Crucifixion

Jacques de Baerze (Netherlandish, active before 1384–1399) Melchior Broederlam (Netherlandish, about 1355–about 1411). 1391–99. Wood with gilding and traces of polychromy. Explore the catalogue record, image rights and documented connections from The Art Institute of Chicago.

Corpus of Christ, from the Altarpiece of the CrucifixionJacques de Baerze (Netherlandish, active before 1384–1399) Melchior Broederlam (Netherlandish, about 1355–about 1411) · 1391–99The Art Institute of Chicago · CC0
Image & source
Brown and gold sculpture of crucified Jesus without the cross.

Sculpture / Source record

Corpus of Christ, from the Altarpiece of the Crucifixion

Read the catalogue and evidence →
Maker
Jacques de Baerze (Netherlandish, active before 1384–1399) Melchior Broederlam (Netherlandish, about 1355–about 1411)
Date
1391–99
Medium
Wood with gilding and traces of polychromy
Collection
The Art Institute of Chicago
Accession
1944.1370
Credit
Gift of Honoré Palmer
Rights
Public domain · CC0

Public domain · CC0. Unchanged copy of the institution’s verified web image; smaller responsive JPEGs are resized derivatives. Full-resolution image remains linked to the institution. Editorial views may show a detail.

Institution’s full-resolution image ↗Museum reuse policy ↗

Institutional rights designation checked 2026-10-17. Catalogue descriptions are normalized from source data; visual interpretation may be unassessed.

Original museum record ↗Read the CC0 dedication ↗

A record, with reasons

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Catalogue knowledge

Normalized from the museum’s record.

SculptureObject type

Sculpture is a type of object named in the museum catalogue.

An explicitly supplied catalogue description, normalized conservatively. It does not independently establish attribution, completeness, symbolism or historical influence.

The Art Institute of Chicago supplies “Sculpture” in its object type field. This label was normalized by the documented import rule.

Sculpture

Catalogue: The Art Institute of Chicago. Automated source-field normalization; no independent visual interpretation.
Source normalization checked 2026-10-21 · 2026-10-20.1

WoodMaterial

Wood is a material named in the museum catalogue.

An explicitly supplied catalogue description, normalized conservatively. It does not independently establish attribution, completeness, symbolism or historical influence.

The Art Institute of Chicago supplies “Wood with gilding and traces of polychromy; wood (plant material); polychrome; paint; organic material; gilding; plant material” in its medium/materials field. This label was normalized by the documented import rule.

Wood with gilding and traces of polychromy; wood (plant material); polychrome; paint; organic material; gilding; plant material

Catalogue: The Art Institute of Chicago. Automated source-field normalization; no independent visual interpretation.
Source normalization checked 2026-10-21 · 2026-10-20.1

CarvingTechnique

Carving is a making process named in the museum catalogue.

An explicitly supplied catalogue description, normalized conservatively. It does not independently establish attribution, completeness, symbolism or historical influence.

The Art Institute of Chicago supplies “Wood with gilding and traces of polychromy; carving; polychromy; painting (coating); painting; gilding” in its medium/techniques field. This label was normalized by the documented import rule.

Wood with gilding and traces of polychromy; carving; polychromy; painting (coating); painting; gilding

Catalogue: The Art Institute of Chicago. Automated source-field normalization; no independent visual interpretation.
Source normalization checked 2026-10-21 · 2026-10-20.1

Visual observation

Observations of the displayed image.

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Artologium reading

Authored connections, open to interpretation.

Not yet assessed.

These descriptions belong to this object and its selected image. Unlisted features may be unassessed. Editorial observations and readings were developed with AI assistance; they do not establish the maker’s intent.