Christ Crucified, Goya

Christ Crucified, Goya
Christ Crucified, Goya

The crucified Christ is one of the most outstanding works of the Neoclassicist artist, Francisco de Goya, perhaps the work is not one of the best known within the vast production of the artist from Zaragoza, but without a doubt it is one of the most relevant; the theme does not present anything new in fact, there are thousands of interpretations that we could find about the crucifixion, however Goya has managed to give the canvas a certain originality.


On July 5, 1780, Francisco de Gota presented the image of Christ crucified before the Royal Academy of Fine Arts of San Fernando in order to apply for admission to it, the verdict came a short time later, being Goya member of the same unanimously. Francisco de Goya (1746 – 1828) is one of the most outstanding artists of Spanish painting. The beginnings of the artist in the field of the arts began with his father, who worked as a gilder, however Goya soon opted for painting, joining the Academy of Zaragoza and later moving to Madrid to work with Bayeu. Once in Madrid Bayeu got him a job at the Royal Tapestry Factory and little by little the artist made a name for himself among the Spanish nobility as a portraitist.

In 1780 Goyapresented the work of Christ Crucified to the Academy to apply for admission to it, the artist was convinced that his bestThe trick to qualify for admission was to present a painting where he could display his skill in capturing the anatomical nude, however, the mythological paintings ran the risk of being unseemly for the scholars of the Academy while a religious theme was perfectly connected with the religious spirit of the society. In this way the artist presented a crucified Christ on a black and neutral background.

The figure of Jesus Christ has been represented with great delicacy, it is a crucified Christ with the four nails as dictated by the baroque aesthetic. Above his figure we find a sign that reads; arms raised above the shoulders and one leg slightly forward following the model of Mengs. His face rises towards the sky asking for the plea of ​​God the Father in an agonizing gesture with his eyes up and his mouth slightly open; this image distances itself from the dead Christ that in the baroque era had been represented by Velázquez and yet it also manages to inspire pity in the spectators who observe it.

Goya was very aware of the Neoclassical and refined taste of the members and judges of the Academy therefore, he chose to relegate the pathos of the figure in favor of a more refined aesthetic In the body of Christ we hardly find a single bloodstain or wounds. It is a deeply worked modeling in which the artist uses both drawing and color in equal parts to give rise to a well-cared and proportionate canvas.

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