A Foolish Virgin

Identification of A Foolish Virgin

A Foolish Virgin is an engraving by the German artist Martin Schongauer. The artist was born around 1450 and died in 1491. This specific print belongs to a larger series of works created by Schongauer that illustrates the biblical narrative of the five wise virgins and the five foolish virgins.

The work was created around 1480. As an engraving, the image is rendered through precise linework on a metal plate. This print is part of a thematic sequence that explores the parable of the virgins through various individual figures.

Composition and Visual Elements

The composition is centered on a single female figure who occupies most of the frame. Depicted in a three-quarter view, the woman is positioned prominently against a background that is largely devoid of detail. This lack of environmental complexity directs the viewer's attention toward the subject and her immediate physical presence. Her head is tilted slightly, with her gaze directed downward toward an object held in her hands.

Lighting originates from above the figure, casting highlights onto the woman's face and the upper portions of her body. This directional light creates a range of grayscale values, producing shadows beneath the chin and within the deep folds of her drapery. The interplay of light and shadow defines the contours of her form and the texture of her clothing. The arrangement of the figure within the space emphasizes her posture and the specific placement of her hands.

Technique and Artistic Materials

The artwork is an engraving produced through the manual scratching of lines into a metal plate, which is likely composed of copper. This process involves the application of ink to the incised grooves of the plate before it is pressed onto paper. The resulting print is rendered entirely in grayscale tones, utilizing a range of values from deep blacks to light whites to define the figure and its surroundings.

Tonal gradation is achieved through the systematic application of hatching and cross-hatching. These fine, intersecting lines create variations in shading that establish depth and texture across the woman's form and drapery. The density of these lines determines the perceived darkness of the shadows, while sparser lines allow for the lighter highlights on the face and upper body. The precision of the linework defines the hair, the folds of the clothing, and the facial features of the subject.

History and Provenance of the Object

The history of this engraving is documented through its movement from private hands into a public institution. The work was previously held within the Rosenwald Collection. In 1952, Lessing J. Rosenwald purchased the print. Following this acquisition, the object was gifted to the National Gallery of Art in the same year, 1952.

The National Gallery of Art maintains the work under the accession number 1958.8.158. This specific identification number tracks the object within the institution's permanent holdings. The physical item is a sheet of paper, measuring 15 x 11.9 cm, which has been trimmed within the plate mark.

Reception and Influence on Other Artists

Martin Schongauer achieved international recognition as an engraver, becoming one of the first German artists to reach such a status. His prints were disseminated across Europe, reaching a wide audience through the movement of his engravings. These works were highly sought after and frequently copied by other practitioners of the medium.

The technical precision of his engravings influenced several major figures of the Renaissance. One notable instance of this influence is documented in the study and copying of his engraving titled The Trial of Saint Anthony by Michelangelo. This practice of copying Schongauer's detailed linework and tonal gradations contributed to the spread of his visual vocabulary throughout the continent.

Related Works by Martin Schongauer

The artist's output includes several other engravings that utilize similar technical approaches to line and shadow. Among these is the work titled Peasant Family Going to the Market, which dates to about 1473. This piece belongs to the same period of production as many of his other known prints. Other subjects from his series of engravings include The Temptation of Saint Anthony and The Adoration of the Shepherds.

Within the same thematic cycle as the current work, the artist produced The Second Wise Virgin. This print is part of the larger series illustrating the biblical narrative of the five wise and five foolish virgins. The collection of his engravings demonstrates a consistent application of hatching and cross-hatching to define form and texture across different subject matters.

• The Second Wise Virgin
• The Temptation of Saint Anthony
• The Adoration of the Shepherds
• Peasant Family Going to the Market

Current Location of the Artwork

This print is held within the National Gallery of Art. It is part of the Rosenwald Collection. The object is identified by the accession number 1958.8.158. This specific engraving is in the public domain.

The physical item is a sheet that has been trimmed within the plate mark. Its dimensions measure 15 x 11.9 cm. The work remains part of the permanent holdings of the institution.