• Crucifixion

    Artist:
    Cano, Alonso. 1601-1667
    Technique:
    oil
    Dimensions:
    265x173 cm

Cano, Alonso. 1601-1667

Crucifixion

Spain, between 1636 and 1638

In Spain from as early as the 12th century artists produced, for monasteries, convents and churches and to commissions from the senior clergy, large-format altar frontals with a practically icon-like content. Standing out among such works in the museum collection for its particularly tragic resonance is the painting of the Crucifixion by Alonso Cano, a fellow pupil and friend of Diego Velazquez. Their common mentor in Seville was the artist Francisco Pacheco, who developed a new standard for the depiction of Christ on the Cross. Cano did not accept that canon – the artist showed the Saviour’s body being held up by only three nails. Alonso Cano’s manner of painting generally represents a synthesis of Mannerism and the Baroque with a pronounced Italian influence. In the Crucifixion, however, he adhered to an austere (highly un-Italian) depiction of the subject: the lone figure is set off by a dark background; dramatic expressiveness is achieved through the contrasts of light and shade; a crimson strip of approaching dawn appears on the horizon. Interestingly, the canvas was originally semicircular at the top. (Extensions have been found on either side at the top, and also at the bottom.) The painting was made for a particular location, but then its format was modified to fit another.

Title:

Crucifixion

Place:

Material:

Technique:

oil

Dimensions:

265x173 cm

Acquisition date:

Entered the Hermitage in 1919; transferred from the Marble Palace in Petrograd

Inventory Number:

ГЭ-5572

Category:

Collection:

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