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Description

Italian school; XVI century. "Christ carrying the cross". Oil on panel. It presents faults and restorations. Measurements: 65 x 43 cm. Model of Sebastiano Piombo. The concentration that shows the face of Christ, with the fallen eyelids and the half-open mouth, exalt the devotion of the faithful, that before the sobriety of the scene contemplates the last moments of the life of Jesus. The author only reflects the bust of the protagonist and part of the cross, although not only in its entirety, reducing the elements to a minimum to create an image of contained emotion. This restraint can also be seen in the technical treatment of the anatomy, where the hands and the arm that can be seen under the tunic show the tension of the veins, charged with the strength of carrying the cross. This artistic skill is also reflected in small details such as the drops of blood caused by the crown of thorns, which do not fall in a dramatic way on the face, and the transparent tears that moisten the cheeks of the protagonist. In this canvas the author depicts one of the most dramatic moments of the Stations of the Cross, the moment in which Christ bears the weight of the cross. In this episode it is common to see Simon the Cyrenian helping Jesus to carry the cross, or Veronica offering him a cloth to wipe his face of blood and sweat. However, the author of this canvas dispenses with these characters and seeks no theological meaning other than that of Christ's own suffering and voluntary sacrifice on behalf of humanity. In fact, this supreme generosity is reinforced by Jesus' own gaze, which avoids ours, turning to the side, towards something we do not see because it is outside the painting. Baroque painting is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, and the works were sometimes financed by popular subscription. Painting was thus forced to capture the prevailing ideals in these environments, which were none other than religious ones, at a time when the Counter-Reformation doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the most recurrent theme. It presents faults and restorations.

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Italian school; XVI century. "Christ carrying the cross". Oil on panel. It presents faults and restorations. Measurements: 65 x 43 cm. Model of Sebastiano Piombo. The concentration that shows the face of Christ, with the fallen eyelids and the half-open mouth, exalt the devotion of the faithful, that before the sobriety of the scene contemplates the last moments of the life of Jesus. The author only reflects the bust of the protagonist and part of the cross, although not only in its entirety, reducing the elements to a minimum to create an image of contained emotion. This restraint can also be seen in the technical treatment of the anatomy, where the hands and the arm that can be seen under the tunic show the tension of the veins, charged with the strength of carrying the cross. This artistic skill is also reflected in small details such as the drops of blood caused by the crown of thorns, which do not fall in a dramatic way on the face, and the transparent tears that moisten the cheeks of the protagonist. In this canvas the author depicts one of the most dramatic moments of the Stations of the Cross, the moment in which Christ bears the weight of the cross. In this episode it is common to see Simon the Cyrenian helping Jesus to carry the cross, or Veronica offering him a cloth to wipe his face of blood and sweat. However, the author of this canvas dispenses with these characters and seeks no theological meaning other than that of Christ's own suffering and voluntary sacrifice on behalf of humanity. In fact, this supreme generosity is reinforced by Jesus' own gaze, which avoids ours, turning to the side, towards something we do not see because it is outside the painting. Baroque painting is one of the most authentic and personal examples of our art, because its conception and its form of expression arose from the people and the deepest feelings that nestled in it. With the economy of the State broken, the nobility in decline and the high clergy burdened with heavy taxes, it was the monasteries, the parishes and the confraternities of clerics and laymen who promoted its development, and the works were sometimes financed by popular subscription. Painting was thus forced to capture the prevailing ideals in these environments, which were none other than religious ones, at a time when the Counter-Reformation doctrine demanded from art a realistic language so that the faithful would understand and identify with what was represented, and an expression endowed with an intense emotional content to increase the fervor and devotion of the people. The religious subject is, therefore, the most recurrent theme. It presents faults and restorations.

Estimate 3 000 - 3 500 EUR
Starting price 2 000 EUR

* Not including buyer’s premium.
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