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

Elevation of The Cross by Rubens

High Resolution Prints related to "Elevation of The Cross"

The Elevation of the Cross, Sketch for the Ceiling of the Church of the Jesuits in Antwerp
The Elevation of the Cross, Sketch for the Triptych Painted in 1609-1610 for the Church
The Elevation of the Cross, Sketch for the Ceiling of the Church of the Jesuits in Antwerp
The Raising of the Cross, Sketch for Part of the Ceiling of the Jesuit Church in Antwerp, 1620-1621

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.

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