Null Late Gothic crucified Christ. Spain, 17th century. 

Carved and polychrome …
Description

Late Gothic crucified Christ. Spain, 17th century. Carved and polychrome wood. Measurements: 93 cm. Devotional image of the 17th century, carved in wood and polychrome. It represents Christ on the cross, already dead, with his eyes and lips half-open. The tilted head draws a spiral with respect to the legs bent to the opposite side, so that the body is harmonious in anatomy and proportions, something that shows the progress with respect to the traditional Gothic. It has a restrained dramatism in the treatment of the traces of suffering, especially in the chest with the marked ribs, the thinness that allows glimpses of muscles and tendons, as if the tension of pain still palpitates in the inert body. The purity cloth is gathered at the side, favoring a play of naturalistic drapery. All these characteristics are typical of late Gothic: the naturalism imprinted on the canvases, different from the greater angularity of the early Gothic, as well as the study of chiaroscuro and the realistic intention in the anatomical description.

93 

Late Gothic crucified Christ. Spain, 17th century. Carved and polychrome wood. Measurements: 93 cm. Devotional image of the 17th century, carved in wood and polychrome. It represents Christ on the cross, already dead, with his eyes and lips half-open. The tilted head draws a spiral with respect to the legs bent to the opposite side, so that the body is harmonious in anatomy and proportions, something that shows the progress with respect to the traditional Gothic. It has a restrained dramatism in the treatment of the traces of suffering, especially in the chest with the marked ribs, the thinness that allows glimpses of muscles and tendons, as if the tension of pain still palpitates in the inert body. The purity cloth is gathered at the side, favoring a play of naturalistic drapery. All these characteristics are typical of late Gothic: the naturalism imprinted on the canvases, different from the greater angularity of the early Gothic, as well as the study of chiaroscuro and the realistic intention in the anatomical description.

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