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Spanish school; 17th century."Crucifixion".Oil on canvas.Measurements: 46 x 35 cm; 66 x 54 cm (
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Description
Spanish school; 17th century.
"Crucifixion".
Oil on canvas.
Measurements: 46 x 35 cm; 66 x 54 cm (frame).
In this work the author captures a work full of great dramatism that shows the moment in which Christ is already dead on the cross,
It is an Iconographic evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. However, as in Byzantine Deesis, in the Western model both the Virgin and Saint John have their faces raised or turned towards Christ, with their hands in a position of supplication on behalf of humanity. In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background is completely black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to classicism, especially in the chromatic aspect of the foregrounds.
"Crucifixion".
Oil on canvas.
Measurements: 46 x 35 cm; 66 x 54 cm (frame).
In this work the author captures a work full of great dramatism that shows the moment in which Christ is already dead on the cross,
It is an Iconographic evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. However, as in Byzantine Deesis, in the Western model both the Virgin and Saint John have their faces raised or turned towards Christ, with their hands in a position of supplication on behalf of humanity. In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background is completely black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to classicism, especially in the chromatic aspect of the foregrounds.
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Spanish school; 17th century.
"Crucifixion".
Oil on canvas.
Measurements: 46 x 35 cm; 66 x 54 cm (frame).
In this work the author captures a work full of great dramatism that shows the moment in which Christ is already dead on the cross,
It is an Iconographic evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. However, as in Byzantine Deesis, in the Western model both the Virgin and Saint John have their faces raised or turned towards Christ, with their hands in a position of supplication on behalf of humanity. In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background is completely black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to classicism, especially in the chromatic aspect of the foregrounds.
"Crucifixion".
Oil on canvas.
Measurements: 46 x 35 cm; 66 x 54 cm (frame).
In this work the author captures a work full of great dramatism that shows the moment in which Christ is already dead on the cross,
It is an Iconographic evolved from the original Byzantine Déesis, which depicted Christ in Majesty accompanied by Mary and Saint John the Baptist. In Western art, the representation of Christ on the cross was preferred, as a narrative scene, and the figure of St John the Baptist was replaced by that of John the Evangelist. However, as in Byzantine Deesis, in the Western model both the Virgin and Saint John have their faces raised or turned towards Christ, with their hands in a position of supplication on behalf of humanity. In order to emphasise the dramatic nature of the composition, the artist has played with the lighting and created a much darker atmosphere in the foreground, while the background is completely black, worked in different planes and playing with the table and the candelabra on the ceiling. This markedly effective lighting is a typical Mannerist artistic device, which breaks with classical norms in its quest for a more conceptual, symbolic and, above all, expressive art. Another clearly Mannerist device, which can be seen here at first glance, is the marked spatial tension derived from the large size of Jesus Christ and the candelabra, which occupy a large part of the pictorial surface. Their monumentality contrasts with Christ's thinness, thus emphasising his helplessness and physical suffering. Jesus appears with his almost lifeless body broken and pale, which greatly accentuates the drama of the representation. However, apart from these clearly mannerist elements, we can see features that remain faithful to classicism, especially in the chromatic aspect of the foregrounds.
13th October - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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