Christ Crucified (Velázquez)

1632 painting by Diego Velázquez

Christ Crucified

Artist| Diego Velázquez
Year| 1632
Medium| oil on canvas
Dimensions| 249 cm × 170 cm (98 in × 67 in)
Location| Museo del Prado, Madrid

Christ Crucified is a 1632 painting by Diego Velázquez depicting the Crucifixion of Jesus. The work, painted in oil on canvas, measures 249 × 170 cm and is owned by the Museo del Prado.

## Description

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Christ has both arms drawn a subtle curve, instead of forming a triangle. The loincloth is painted rather small, thus showing the nude body as much as possible.[1] The head shows a narrow halo, as if it came from the figure itself; the face is resting on the chest, showing just enough of his features.[1] The long, straight hair covers a great part of the face, perhaps foreshadowing the death, already inflicted as shown by the wound on the right side. It lacks the characteristic dramatic qualities of Baroque painting.[1] The influence of Classicist painting is shown by the calm posture of the body, the idealized face and the leaning head.[1] On the other hand, the influence of Caravaggism can be seen in the strong chiaroscuro between the background and the body, and in the strong, artificial lightning over the cross.[1] Velazquez's use of light and shadow creates the idea that the subject is rising from the darkness, almost as if Christ's body is emanating light.[1] The anatomically proportioned body, supported by two separated open feet, creates an impression of Christ more reposed than dead.[1]

Francisco Pacheco\- Christ on the Cross

## Iconography

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Velázquez followed the accepted iconography in the 17th century. His master, Francisco Pacheco, a supporter of classicist painting, painted the crucified Christ using the same iconography later adopted by Velázquez: four nails, feet together and supported against a little wooden brace, in a classic contrapposto posture.[1] This became a model and great influence for various artists: Velazquez, Zurbarán and Alonso Cano.[1] Unlike other traditional crucifixion interpretations outside of the Spanish tradition, Velazquez's work represents two parallel feet both punctured by nails.[1] Jesus's feet are traditionally pierced with one nail, one foot over the other.[2]

Pacheco's claim of Christ having four nails instead of three and his independent studies of the events of the crucifixion created great controversy .[1] Pacheco and his colleagues, many of whom were Jesuits, developed analysis involving resources from contemporary writers, church fathers, and medieval mystics from the Italian and Spanish orthodoxies, supporting the idea that Jesus was crucified with a nail in each foot. Many argued Pacheco's work and influence may have created a distance from biblical evidence and his personal ideas.[1]

## History

[edit]

Although the precise date is still unknown, historians believe the work was made after Velázquez's return from Italy, in the period of 1632 through 1638. Due to numerous replications[2] particularly on funeral cards and devotional stamps, it is difficult to find information of the works location. There is evidence of the painting being located in the oratory of the Benedictine convent of San Placido in Madrid.[1] It is likelihood the work was donated by the convent founder, Jerönimo de Villanueva, the prothonotary of Aragon and one of the King Phillip IV's secretaries.[citation needed]

Portrait of King Phillip IV of Spain \- Diego Velazquez

Velazquez did not have full experience with religious paintings compared to his traditional works.[1] Due to his employment under King Phillip IV,[3][circular reference] the painter was encouraged to paint more historical, religious and mythological works due to traditional understanding of prestigious paintings.[2] Under King Phillip IV, Velazquez's work depicted portraits of the king, his secretaries, his family, his ministers, his servants, jesters, and dwarves.[1] King Phillip IV described Velazquez working pace, "phlegmatic nature",[1] which referred to him being slow; however he believed Velazquez's work was legendary and introduced the artist to his royal court and inner circle. Velazquez being introduced to this environment, invited him to new opportunities and resources.

Due to the influence of King Phillip IV, Velazquez works became proficient in religious and mythological works. Velázquez made various nude studies he used in later paintings, such as Apollo at the Forge of Vulcan (1630) and Joseph's Tunic (1630). Art critics assert that the nude study for this painting is exceptional and masterly in its fusion of serenity, dignity and nobility. It is a life-size frontal nude, without the support of a narrative scene.

## Historical Context

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Cristo (Christ) \- Diego Velazquez

Counter-Reformation also referred to as the Catholic Reformation, took place during the period of Catholic resurgence which started because of Protestant Reformation.[4] The Catholic Church of the Counter-Reformation heavily relied on sacred art to exemplify the glory in faith yet the terror for non-believers.[4] The motive of the Reformation was intended to reintroduce old stories and ancient truths to the modern generation through various artists.

Velazquez's religious paintings had great influence on others due his works on the Passion of Jesus.[5] The passion was the time period before the death of Jesus Christ, which includes numerous events and interactions with Jesus, such as the Last Supper, Jesus's arrest, his crucifixion and death, his burial, etc.[5] For the Last Supper, Jesus imposed that bread and wine would symbolize the body and blood of Christ.[6] It is important to recognize that after the Crucifixion of Christ, in remembrance of Jesus, followers would consume bread and wine for a monthly communion, also known as Transubstantiation.[6] With great influence of Transubstantiation, the body of Christ became overemphasized.[7] In Velazquez's painting of Crucifixion of Christ, Christ's severe body was greatly influential to followers of Christ to glorify God.[8] Believers of Christ felt that the painting would evoke their soul for the desire to praise God.[8]

## Legacy

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The spirituality and mystery of this painting have inspired much religious writing, notably the poem El Cristo de Velázquez by the Spanish writer and philosopher Miguel de Unamuno.

## See also

[edit]

* List of works by Diego Velázquez

## References

[edit]

1. ^ a b c d e f g h i j k l m n o p Lahuerta, Juan José (2014). "The Crucifixions of Velázquez and Zurbarán". RES: Anthropology and Aesthetics (65/66): 259–274. ISSN 0277-1322. JSTOR 24871255.
2. ^ a b c LAHUERTA, JUAN JOSÉ (2014). "The Crucifixions of Velázquez and Zurbarán". RES: Anthropology and Aesthetics (65/66): 259–274. ISSN 0277-1322. JSTOR 24871255.
3. ^ "King Phillip IV".
4. ^ a b Lev, Elizabeth (2018-09-20). How Catholic Art Saved the Faith: The Triumph of Beauty and Truth in Counter-Reformation Art. Sophia Institute Press. ISBN 978-1-62282-612-4.
5. ^ a b "Passion of Jesus", Wikipedia, 2023-05-08, retrieved 2023-05-18
6. ^ a b Green, Jennifer (1993), Green, Jennifer; Trevelyan, Joanna (eds.), "Christianity", Death with Dignity: Volume II, London: Macmillan Education UK, pp. 2–5, doi:10.1007/978-1-349-13197-6_2, ISBN 978-1-349-13197-6, retrieved 2023-05-19
7. ^ "Sacramento State Single Sign-On". idp.csus.edu. Retrieved 2023-05-20.
8. ^ a b https://www.pharosjot.com/uploads/7/1/6/3/7163688/article_20_vol_100_2019_greek_orthodox_archdiocese.pdf. `{{cite web}}`: Missing or empty `|title=` (help)

## Bibliography

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* (in Spanish) Historia general del arte, Tomo XIII, colección Summa Artis, La pintura española del siglo XVII. Author, José Camón Aznar. Editorial Espasa Calpe S.A. Madrid 1977
* (in Spanish) La pintura en el barroco José Luis Morales y Marín Espasa Calpe S.A. 1998 ISBN 84-239-8627-6
* (in Spanish) Museo del Prado. Pintura española de los siglos XVI y XVII Enrique Lafuente Ferrari Aguilar S.A. 1964
* Cirlot, L. (dir.), Museo del Prado II, Col. «Museos del Mundo», Tomo 7, Espasa, 2007.

## External links

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* Velázquez , exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Christ Crucified (see index)

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Diego Velázquez

List of works

Genre|

* The Lunch (c. 1617)
* Old Woman Frying Eggs (c. 1618)
* The Farmers' Lunch (1618)
* Three Musicians (1618)
* The Waterseller of Seville (1618–1622)
* The Kitchen Maid (1620–1622)
* The Needlewoman (c. 1635–1643)

History|

* The Triumph of Bacchus (1628–1629)
* Apollo in the Forge of Vulcan (1629)
* The Surrender of Breda (1634–1635)
* Mars Resting (1640)
* Rokeby Venus (c. 1647–1651)
* Female Figure (1648)
* Las Hilanderas (c. 1657)

Religious|

* Christ in the House of Martha and Mary (1618)
* Saint Paul (1618–1620)
* Adoration of the Magi (1619)
* Joseph's Tunic (1630)
* Temptation of St. Thomas (1632)
* Christ Crucified (1632)
* Coronation of the Virgin (c. 1641–1644)

Portraits|

* The Nun Jerónima de la Fuente (1620)
* Don Luis de Góngora (1622)
* Philip IV in Armour (after 1623)
* Count-Duke of Olivares (1624)
* The Infante Don Carlos (1626–1627)
* Maria Anna (1630)
* Philip IV in Brown and Silver (1630s)
* Portrait of a Man (c. 1630)
* Prince Balthasar Charles with a Dwarf (1631)
* Don Juan Mateos (1632–1633)
* Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis (1634)
* Count-Duke of Olivares (1635)
* Prince Balthasar Charles as a Hunter (1635)
* Juan Martínez Montañés (1635–1636)
* Pablo de Valladolid (1636–1637)
* Lady with a Fan (1638–1639)
* Philip IV in Fraga (1644)
* Francisco Lezcano (1645)
* Pope Innocent X (1650)
* Juan de Pareja (1650)
* Mariana of Austria (1652)
* The Infanta Maria Theresa of Spain (1652–1653)
* Infanta Margarita Teresa in a Peach Dress (1653–1654)
* Las Meninas (1656)
* Infanta Margarita in a White and Silver Dress (1656)
* Infanta Margarita Teresa in a Blue Dress (1659)
* Prince Philip Prospero (1659)
* Infanta Margarita Teresa in a Pink Dress (1660)

Equestrian
portraits|

* Elisabeth of France (c. 1628–1636)
* Count-Duke of Olivares (1634)
* Margarita of Austria (1634)
* Philip III (1634–1635)
* Philip IV (1635–1636)
* Prince Balthasar Charles (1635)
* Prince Baltasar Carlos in the Riding School (1636)

Jesters|

* Calabacillas (1626–1632)
* Don John of Austria (1632–1633)
* Barbarroja (1633)
* Calabacillas (1637–1639)
* Sebastián de Morra (c. 1645)
* Don Diego de Acedo (1645)

Landscapes|

* View of the Garden of the Villa Medici (c. 1630)

Portrayals|

* Statue of Velázquez (1899, Madrid)
* El ministerio del tiempo (television series)

* v
* t
* e

Museo del Prado

Buildings

* Villanueva building
* Casón del Buen Retiro
* Hall of Realms
* Cloister of Saint Jerome

Paintings

| Spanish|

* Esquivel: José de Espronceda
* Gisbert: Execution of Torrijos and his Companions on the Beach at Málaga
* Goya: Allegory of Industry – Asmodea – Atropos – Blind Man's Bluff – Boys playing soldiers – Charles IV of Spain and His Family – Los caprichos – Christ Crucified – The Clothed Maja – The Colossus – The Countess of Chinchon – Los disparates – The Dog – The Drunk Mason – The Duchess of Alba and la Beata – Fight with Cudgels – Judith and Holofernes – La Leocadia – Man Mocked by Two Women – La novillada – Portrait of the Marchioness of Santa Cruz – Men Reading – The Milkmaid of Bordeaux – The Naked Maja – The Parasol – A Pilgrimage to San Isidro – Pilgrimage to the Fountain of San Isidro – Saturn Devouring His Son – The Second of May 1808 – Self-portrait at 69 years – Summer – The Third of May 1808 – Two Old Men – Two Old Ones Eating Soup – The Victorious Hannibal Seeing Italy from the Alps for the First Time – Witches' Flight – Witches' Sabbath (The Great He-Goat)
* El Greco: The Nobleman with his Hand on his Chest – Adoration of the Shepherds – Doña María de Aragón Altarpiece – Annunciation – Christ Carrying the Cross – The Fable – The Flight into Egypt – Holy Face of Jesus – Holy Trinity – Julián Romero and Saint Julian – Portrait of a Doctor – Portrait of a Gentleman – Portrait of a Young Nobleman – Portrait of an Elderly Man – Portrait of an Unknown Gentleman – Portrait of Jerónimo de Cevallos – Portrait of Rodrigo Vázquez de Arce – Saint Andrew and Saint Francis – Saint Anthony of Padua – Saint Bernardino of Siena [1] – Saint James the Great – Saint John the Evangelist – Saint Paul – Saint Sebastian – Saint Thomas the Apostle – Holy Trinity – The Saviour – Virgin Mary
* Luna: The Death of Cleopatra
* Maíno: Adoration of the Magi – Portrait of a Gentleman – The Recovery of Bahía de Todos los Santos
* Murillo: Adoration of the Shepherds (1650) – Aranjuez Immaculate Conception – The Christ Child and the Infant John the Baptist with a Shell – Christ on the Cross (1675, 1677) – The Conversion of Saint Paul – The Good Shepherd – The Holy Family with a Little Bird – The Immaculate Conception of El Escorial – The Immaculate Conception of Los Venerables – The Martyrdom of Saint Andrew – Our Lady of the Rosary – The Patrician's Dream – Rebecca and Eleazar
* Pradilla: Doña Joanna the Mad
* Ribera: Jacob's Dream – Democritus – Isaac and Jacob – Ixion – Tityos – The Martyrdom of Saint Philip – The Blind Sculptor
* Sánchez Gallque: The Mulattos of Esmeraldas [2]
* Velázquez: Las Meninas – The Triumph of Bacchus – Las Hilanderas – The Surrender of Breda – Mars Resting – Equestrian Portrait of Philip IV – Equestrian Portrait of Elisabeth of France – Equestrian Portrait of Prince Balthasar Charles – Equestrian Portrait of Philip III – Equestrian Portrait of Margarita of Austria – Equestrian Portrait of the Count-Duke of Olivares – Adoration of the Magi – Apollo in the Forge of Vulcan – Christ Crucified – Coronation of the Virgin – View of the Garden of the Villa Medici – Prince Balthasar Charles as a Hunter – Portrait of the Infante Don Carlos – Doña Antonia de Ipeñarrieta y Galdós and Her Son Don Luis – The Jester Barbarroja – The Jester Calabacillas – The Jester Don Diego de Acedo – The Jester Don John of Austria – Portrait of Francisco Lezcano – Infanta Margarita Teresa in a Pink Dress – Portrait of Maria Anna – Portrait of Juan Martínez Montañés – The Nun Jerónima de la Fuente – Portrait of Pablo de Valladolid – Portrait of Philip IV in Armour – Portrait of Mariana of Austria – Portrait of Sebastián de Morra
* Zurbarán: Agnus Dei – The Death of Hercules – The Defence of Cádiz Against the English – Hercules and the Hydra – Hercules Separates Mounts Calpe and Abylla – Hercules Fighting the Nemean Lion – Saint Elizabeth of Portugal – Saint Luke Painting the Crucifixion – Saint Peter Nolasco's Vision of Saint Peter the Apostle – Still Life with Pots – The Vision of Saint Peter Nolasco

|

Dutch,
Flemish,
German|

* Anonymous: The Fountain of Life
* Baldung: The Three Ages of Man and Death
* Bosch: The Garden of Earthly Delights – Adoration of the Magi – Cutting the Stone – The Haywain Triptych – Head of a Halberdier – Paradise and Hell – The Seven Deadly Sins and the Four Last Things – The Temptation of St Anthony
* Bouts: Triptych of the Virgin's Life
* Bruegel the Elder: The Triumph of Death – The Wine of Saint Martin's Day – Excursion in the Countryside of Infanta Isabel Clara Eugenia – Life in the Countryside – The Infanta Isabel Clara Eugenia in the Mariemont Park (with de Momper) – Landscape (with de Momper) – The Five Senses (with Rubens)
* Campin: Marriage of the Virgin – Werl Triptych
* de Crayer: Caritas Romana (1625)
* David: Rest on the Flight into Egypt
* Dürer: Adam and Eve – Self-Portrait
* van Dyck: Self-portrait with Sir Endymion Porter – The Betrayal of Christ – The Brazen Serpent – Diana and a Nymph Surprised by a Satyr – Saint Rosalia – The Crowning with Thorns
* van Hemessen: The Surgeon
* Francken the Younger: The Sciences and the Arts
* Jordaens: Apollo as Victor over Pan – Meleager and Atalanta – The Painter's Family
* Memling: Adoration of the Magi
* Mengs: Portrait of José Nicolás de Azara
* de Momper: Landscape with Sea and Mountains – A Farm – Flemish Market and Washing Place – Landscape with Skaters – The Infanta Isabel Clara Eugenia in the Mariemont Park (with Brueghel the Elder) – Landscape (with Brueghel the Elder)
* Patinir: Landscape with Charon Crossing the Styx
* Rembrandt: Judith at the Banquet of Holofernes
* Rubens: The Judgement of Paris (1638) – The Three Graces – Adoration of the Magi – The Dance of the Villagers – Diana and Callisto – Equestrian Portrait of the Duke of Lerma – The Fall of Man – The Garden of Love – The Birth of the Milky Way – The Rape of Europa – The Rape of Ganymede – Saint George and the Dragon – Saturn – The Triumph of the Church – Deucalion and Pyrrha – The Five Senses (with Brueghel the Elder)
* Stom: The Incredulity of Saint Thomas
* Strobel: Feast of Herod with the Beheading of St John the Baptist
* Teniers the Younger: Archduke Leopold Wilhelm in his Painting Gallery in Brussels (1651)
* Verhaecht: Alpine Landscape
* van der Weyden: The Descent from the Cross – Durán Madonna

Italian|

* Fra Angelico: Annunciation
* Anguissola: Portrait of Elisabeth of Valois – Portrait of Infanta Isabella Clara Eugenia [3] – Portrait of Giovanni Battista Caselli
* Barocci: Nativity
* Bellini: Madonna and Child with Saint Mary Magdalene and Saint Ursula
* Botticelli: The Story of Nastagio Degli Onesti, part one
* Caravaggio: David and Goliath
* Carracci: Assumption of the Virgin – Mural Paintings from the Herrera Chapel – Venus, Adonis and Cupid
* Correggio: Noli me tangere – Madonna and Child with the Infant John the Baptist
* A. Gentileschi: The Birth of Saint John the Baptist
* O. Gentileschi: The Finding of Moses (1633)
* Leonardo: Mona Lisa (by his studio)
* Lotto: Portrait of Marsilio Cassotti and His Bride Faustina
* Mantegna: Death of the Virgin
* Parmigianino: Holy Family with Angels – Portrait of Camilla Gonzaga and Her Three Sons – Portrait of Pier Maria Rossi di San Secondo – Saint Barbara
* Raphael: Portrait of a Cardinal – Christ Falling on the Way to Calvary – Madonna of the Rose – Visitation – La Perla (with Romano)
* Romano: Holy Family under an Oak Tree
* Andrea del Sarto: Sacrifice of Isaac
* Tintoretto: Christ Washing the Disciples' Feet – Joseph and Potiphar's Wife – Judith and Holofernes (by his studio) – The Washing of the Feet
* Tiepolo: The Immaculate Conception
* Titian: The Bacchanal of the Andrians – Equestrian Portrait of Charles V – The Fall of Man – Alfonso d'Avalos Addressing his Troops – Danaë Receiving the Golden Rain (1565) – The Entombment – La Gloria – Madonna and Child with St Anthony of Padua and St Roch – Mater Dolorosa – Philip II in Armour – Portrait of Charles V with a Dog – Portrait of Federico II Gonzaga – Portrait of Isabella of Portugal – Sisyphus – Tityus – Religion saved by Spain – Self-Portrait (1567) – St Margaret and the Dragon – Venus and Adonis (1554) – Venus and Musician (1550, 1555) – The Virgin and Child with Saint George and Saint Dorothy – The Worship of Venus
* Veronese: Venus and Adonis – Christ Among the Doctors – The Finding of Moses

French|

* Anonymous: Agony in the Garden
* Baudry: The Pearl and the Wave
* van Loo: The Family of Philip V (1743)
* Lorrain: Landscape with St Paula of Rome Embarking at Ostia – The Ford – Landscape with St María de Cervelló – Landscape with the Burial of St Serapia – Landscape with the Finding of Moses – Landscape with the Temptation of St Anthony – Landscape with Tobias and Raphael
* Poussin: Parnassus – Landscape with Three Figures – Saint Cecilia
* Ranc: The Family of Philip V (1723) – Portrait of Ferdinand VI as a Boy
* Watteau: Marriage Contract and Country Dancing
* Vouet: Time Defeated by Love, Beauty and Hope

Other|

* British paintings

Sculptures

| Rome|

* The Apotheosis of Claudius
* Castor and Pollux

|

* [1] On display at El Greco Museum in Toledo
* [2] On display at Museo de América in Madrid
* [3] On display at the Spanish Embassy in Paris

* Category

Authority control databases

International|

* VIAF

National|

* France
* BnF data
* United States

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*[c.]: circa