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Christ has both arms drawn a subtle curve, instead of forming a triangle. The loincloth is painted rather small, thus showing the nude body as much as possible. [1] The head shows a narrow halo, as if it came from the figure itself; the face is resting on the chest, showing just enough of his features. [1]
A night scene. Full light falls from the left on the body of Christ, who casts His eyes upward as if in pain. Small full-length figures. Produced at the same time as its pendant, "The Descent from the Cross" (134), which was painted in 1633. Canvas, rounded at top, 38 inches by 28 + 1 ⁄ 2 inches. Engraved by Hess.
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 painting shows the miracle of the healing of a madman through the relic of the Holy Cross, held by the Patriarch of Grado Francesco Querini, which took place in the Palazzo a San Silvestro on the Canal Grande, near the Rialto Bridge. The scene has an asymmetrical composition, with figures in the foreground at the left and, behind them, the ...
Partly unfinished, locally completed by later hand. At least 8–10 cm of the canvas are missing at the right. Along the bottom a strip of c. 10 cm was lost at some stage and subsequently replaced by a reconstruction painted by the restorer William Suhr: Joseph Accused by Potiphar’s Wife: 1655: Oil on canvas: 110 x 87: Gemäldegalerie, Berlin ...
The large canvas shows the three executioners fighting to straighten the cross. Peter is already nailed to the rafters, his hands and feet are bleeding. The apostle is practically naked, which emphasizes his vulnerability. He is an old man, with a gray beard and a bald head, but his aging body is still muscular, suggesting considerable strength.