Elevation of The Cross by Peter Paul Rubens, 1610-1611

 

 

The Elevation of the Cross, Sketch for the Ceiling of the Church of the Jesuits in Antwerp Rubens

The Elevation of the Cross, Sketch for the Triptych Painted in 1609-1610 for the Church Rubens

The Elevation of the Cross, Sketch for the Ceiling of the Church of the Jesuits in Antwerp Rubens

The Raising of the Cross, Sketch for Part of the Ceiling of the Jesuit Church in Antwerp, 1620-1621 Rubens

Cleary influenced by Rubens' travels to Italy, The Elevation of the Cross tryptich is of a close resemblance with the Renaissance painting and the Italian Baroque Art, mostly Caravaggio. Currently hosted at the Cathedral of Our Lady, in Anvers, Belgium. Oil on canvas, 462 _ 341 cm.

In 1610 when, according to tradition, Rubens had completed the St. Ildefonso altar-piece, he executed another work for the Walpurgis-church at Antwerp. This is the celebrated Elevation of the Cross, now in the transept of the cathedral at Antwerp.

There is in the Louvre a drawing for this picture, giving an idea of the whole composition which, when finally executed, was divided into three parts: The Elevation of the Cross in the centre: on the right the Weeping Women: on the left the Roman Centurion. The central-subject has been reproduced in numberless ancient and modern prints. A thick darkness covers the sky whilst the Saviour, extended upon the Cross, turns his suffering face towards the last rays of the setting sun.

The whole attention of the spectator is attracted by this figure alone; for all the other figures are unimportant. Their whole attention appears to be directed to raising the heavy cross, and preventing it from slipping from its intended position. On one of the wings may be seen the Centurion, surrounded by other men on horseback, giving his orders with all the pride of a Roman official: behind him are the two thieves.

On the other wing is a striking group of the Mourning Women, amid whom St. John supports the Holy- Mother overwhelmed with grief. Originally there was a lunette above the central-portion of this Ancona, representing God the Father, toward whom the Crucified One was directing his gaze: and also a predella consisting of three small pictures.

These pieces were sold separately in the 18th century by order of the church-authorities.

Visitors Comments on Elevation of The Cross by Paul Rubens

Split in three very distinct spaces, Rubens' composition is violent and muscular. To the left there is a group of women weeping, crouched to the ground, horrified, Mary Magdalen with her voluptuous nude breasts, bent backwards as if crushed by the weight of the cross. One level below her, St John and the Holy Virgin display a more dignified sort of suffering, shadowed by a rocky wall.
To the right, the Roman troops, a commanding officer and, as if in a haze, the two thieves being nailed to their crosses. At the center, in a gigantic and violent scene, there's a diagonal of muscles. The men displayed here are athletes raising the cross in a titanic effort, pushing, supporting, tensed to the point of breaking a fragile balance.
The dramatic effect is embedded in the sculpture-like of the figures, in the torment and torque of postures, and in the intensity of colors. One notes the economy in the light contrast and in the way the disposition of bodies leads to the tip of the pyramid. The onlooker's eye reaches an invisible points, outside of the panel's frame, denoting aspiration towards redemption.
Very remarkable is the serenity of Jesus' face, as if evoking a sort of stoicism later valued by Jesuits, a face that appears in abrupt contrast with the effort and torment of the collective movements.

Posted by: Calin | March 08, 2011 - 13:42 PM

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