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He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. [6] These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, [ 7 ] and surrealist props such as flowers and umbrellas.
Crucifix (Cimabue, Arezzo) Crucifix (Cimabue, Santa Croce) The Crucifixion (Cranach) Cristo de Chircales; Crucified Christ (Cosmè Tura) Crucifix of Pisa; Crucifixion (Tintoretto) Crucifixion (Titian) Crucifixion (1933) Crucifixion (Corpus Hypercubus) The Crucifixion (Margkazinis) The Crucifixion (Moskos) The Crucifixion (Paleokapas)
That it should be a crucifix was first specified in the Roman Missal of 1570 and small wall-mounted crucifixes were increasingly popular in Catholic homes from the Counter-Reformation, if not before. The image of a crucifix that bled when mocked and struck by Jews also gained popularity during this time. [30]
The Santa Croce Crucifix is one of the earliest and best-known examples of the type. [16] The work surpasses Cimabue's c. 1268 Arezzo crucifix in several ways. It is more human and less reliant on idealised facial types, [13] and the anatomy is more convincing. Christ's face is longer and narrower, and his nose is less idealised.
Pages in category "Paintings of crucifixes" The following 8 pages are in this category, out of 8 total. This list may not reflect recent changes. A. The Allegory of ...
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. [1] The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head).
Saint Francis Embracing Christ on the Cross or Allegory of Saint Francis' Renunciation of the Material World to Follow Jesus is an oil on canvas painting by Bartolomé Esteban Murillo, created in 1668-1669, now held in the Museum of Fine Arts of Seville.
The only real vertical elements in the painting are the figures, which occupy most of the foreground. Many clusters of people surround a single large central figure mounted on a crucifix. The most impressive formal attribute of this painting (besides its considerable size) is its central compositional element.