A late fourteenth-century depiction of the Flagellation by the Master of the Berswordt Altar, featuring International Gothic stylistic elements.

The Master of the Berswordt Altar is an anonymous Westphalian painter active in Dortmund during the late fourteenth century. This work, depicting the Flagellation of Christ, is characteristic of the International Gothic style, which prioritised linear grace and decorative surfaces over strict anatomical realism. The composition is organised around a central column, to which Christ is bound. His figure is elongated, with a pallor that contrasts against the gilded background. This gold leaf, applied to the panel, creates a flat, ethereal space that removes the scene from a specific temporal setting. Three tormentors surround the central figure. Their clothing reflects the fashion of the period, with pointed footwear and fitted tunics. The artist employs a muted palette, allowing the gold ground to dominate the visual field. The figures are rendered with a focus on narrative clarity, showing the physical exertion of the tormentors as they prepare their bundles of birch. The painting displays the characteristic craquelure of a panel work from this era, which adds texture to the surface of the print. This piece is part of a larger cycle of the Passion, intended for a devotional context. The artist demonstrates a clear interest in the expressive potential of the human form, even within the constraints of the period's stylistic conventions. The work provides insight into the religious art produced in the Hanseatic cities of Northern Germany during the late Middle Ages. By focusing on the physical suffering of the subject, the artist invites the viewer to engage with the narrative through a lens of quiet contemplation. The print captures the specific material qualities of the original panel, including the subtle variations in the gold leaf and the application of oil paint.