Christ Crucified (Velázquez)

Christ Crucified

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

Christ Crucified is a 1632 painting of the Crucifixion of Jesus by Diego Velázquez, now in the Museo del Prado.

During his stay in Rome, Velazquez 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 frontal nude.

Description

Velazquez followed the accepted iconography in the 17th century. His master, Francisco Pacheco, a big supporter of classicist painting, painted the crucified Christ using the same iconography later adopted by Velazquez: four nails, feet together and supported against a little wooden brace, in a classic contrapposto posture. Both arms draw a subtle curve, instead of forming a triangle. The purity cloth is painted rather small, thus showing the nude body as much as possible. The head shows a narrow halo, as if it came from the figure itself; the face is posed on the chest, showing just enough of his characteristics. The long, straight hair, covers a great part of the face, perhaps anticipating the death, already inflicted as shown by the wound on the right side. It lacks the characteristic dramatic qualities of Baroque painting.

History

Because of lack of information, the date of the painting is unknown. Nevertheless, historians believe the work was made after his return from Italy, probably between 1631 and 1632. The influence of Classicist painting is shown by the calm posture of the body, the idealized face and the leaning head. On the other hand, the Caravaggism influence can be seen in the strong Chiaroscuro between the background and the body, and in the strong, artificial lightning over the cross.

It was most likely a commission for the San Plácido Convent saccristy. The painting was among the impounded items of Manuel Godoy, but was returned to María Teresa de Borbón, 15th Countess of Chinchón. After her death, the painting was passed on to his brother-in-law, the Duke of San Fernando de Quiroga, who gave it to King Fernando VII. The king then sent the painting to the Museo del Prado.

Legends

Bibliography

• (Spanish) Historia general del arte, Tomo XIII, colección Summa Artis, La pintura española del siglo XVII. Autor, José Camón Aznar. Editorial Espasa Calpe S.A. Madrid 1977
• (Spanish) La pintura en el barroco José Luis Morales y Marín Espasa Calpe S.A. 1998 ISBN 84-239-8627-6
• (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. ISBN 978-84-674-3810-9, pág. 27