Christ in Cross

Christ in Cross is a table of Francisco de Zurbarán carried out in 1627.

In 1626, it signs in front of notary an new agreement with the community of the Preaching friars of the Dominican Order of San Pablo de Real, with Seville: it must carry out 21 tables in eight month. And it is in 1627 qu ' it paints the Christ in Cross , work admired at a point such by its contemporaries that the Municipal council of Seville proposes to him to come to settle in this city in 1629.

In this table, the impression of relief is seizing. The Christ is nailed on a cross with badly squared wood. The linen white, luminous, which girds the size to him, with its draped erudite and already baroque, contrast dramatically with the flexible and well formed muscles of the body. The fine face is inclined on the right shoulder. The suffering seems exceeded and leaves room to an ultimate dream of Résurrection, last thought of a promised life whose body, tortured either but already glorious, is made the sign.

As for Christ in cross of Diego Vélasquez (painted in 1632, stiffer and more symmetrical), the feet are nailed here separately. At that time, of the sometimes monumental works dispute representations of the Crucifixion and in particular of the number of nails. For example the Revelations of Holy Brigitte who spoke about four nails. In addition, after the decrees tridentins, the spirit of the Counter-Reformation is opposed to the great settings in scene and rather directs the artists towards representations of Christ only. Lastly, many theologists support that the body of Jesus and that of Marie could be only perfect. Zurbarán adopts these lessons, and is affirmed at twenty-nine years like an undeniable Master.

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