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Giuseppe CESARI IL CAVALIER D'ARPINO (1568-1640), Follower Flagellation of Jesus Oil on canvas, relined, probably 18th c. 46.5 x 34 cm, frame: 56 x 43 cm

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Giuseppe CESARI IL CAVALIER D'ARPINO (1568-1640), Follower Flagellation of Jesus Oil on canvas, relined, probably 18th c. 46.5 x 34 cm, frame: 56 x 43 cm

Estimate 500 - 1 000 CHF
Starting price 500 CHF

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For sale on Saturday 29 Jun : 10:00 (CEST)
muri-b-bern, Switzerland
Galerie Moenius
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Spanish school; late seventeenth century. "The flagellation of Christ". Oil on canvas. Relined. It has a frame of the eighteenth century. Measurements: 52 x 76 cm; 62 x 85 cm (frame). This canvas deals with the theme of the flagellation of Christ, developing in a complex architectural space, opening at different levels. Thus, following a compositional scheme of Italian tradition, the Flemish influence can also be appreciated in the spatial concept. Christ, tied to a pedestal, is being scourged by several henchmen, whose movement has been frozen in aggressive and inclement gestures. Jesus' anatomy seems to emanate inner light, his whiteness being a transcript of the purity of his soul, in contrast to the dark flesh of the executioners. The narrative of the scene is developed on different planes, since in the looks and expressive grammar of each character we can guess their thoughts in the face of the injustice they are witnessing. As for its iconography, the four Gospels mention the punishment that Christ suffers at this moment, although they do not refer to any column: this iconography arises from the word "punishment" used by Luke, and it was known as a moment prior to the Crucifixion in the words of Josephus, for example. Throughout the Middle Ages the column venerated in Jerusalem was used for these representations, characterized by its height. There is another typology, which can be seen in this painting, which closely follows the model of the relic preserved in Santa Praxedes in Rome since 1233 and that the Council of Trent was responsible for recovering for art, characterized precisely by the marble in which it is made and for being low. This model of column, which does not deny the previous one as theologians recognize two moments in which Christ was scourged, was used in art from the late sixteenth century, coexisting with the high one, and spread throughout Europe rapidly.