Crucifixion, Tintoretto

Crucifixion, Tintoretto
Crucifixion, Tintoretto

Throughout the centuries many painters and sculptors have represented scenes of the Passion of Jesus Christ, among them perhaps one of the most repeated is the scene of the Crucifixion of Christ on Mount Golgotha ​​and it is precisely due to the a very large number of works of art that de alt with this same theme, which is why it is so difficult for us to find an iconography or original composition on this theme; the rare occasions in which we find them are magnificent works of art such as the one that occupies us here, The Crucifixion represented by the Italian artist Tintoretto in Scuola Grande di San Rocco, in Venice.


Jacopo Comin, known by the nickname of Tintoretto including Il Furioso (1518 – 1594) is one of the best representatives of Mannerist aesthetics and especially of Venetian school painting. Throughout his life he achieved significant success working for some of the most important clients of his time and leaving us a wide artistic production. As a good Venetian Tintoretto mastered color to perfection, in his canvases the brushstroke takes on a singular force that enhances the composition. On the other hand,the light contraststhat the artist is accustomed to using on his canvases will be one of the most immediate precedents of the tenebrist aesthetic that appeared in the Baroque throughout the 17th century

In the second half of the 16th century the artist received an importantcommissioned, the decoration of the interior of the Scuola di San Rocco in Venice,an important entity dedicated to the underprivileged. The iconographic program revolved around the life of San Roque and Jesus, but some of the most outstanding scenes or passages from the Old Testament or from the life of Mary were also included.

On this occasion we find a large canvas more than five meters high and almost thirteen wide made in oil on canvas. For its execution, the artist made numerous sketches and preparatory drawings that are still preserved today. In the center of the composition appears Jesus Christ whose muscular body bends over, still alive, on the cross. Under the cross we find a group of figures that weep bitterly and crowd at the foot of the cross of Christ as if they were its support. From the figure of Jesus Christ itself emerges a brilliant lightthat contrasts with the dark, leaden sky of the composition and whose rays serve to establish the composition of the large group of characters that make up the canvas: while one of the thieves accompanying Jesus is already hoisted onto his cross, the other finds the other side even being tied to the cross, the soldiers share the garments of Jesus Christ, other spectators observe the scene shocked etc. In the lower right corner we also find a cartouche that appears under a white horse where the artist took advantage of the space to sign and date the canvas.

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