Descent from the Cross
Spanish Early Renaissance Painter, active ca.1454-1468 320 x 191 cm (entire painting) Cathedral, Seville In Seville, the second third of the sixteenth century also witnessed the introduction of a style of painting that reflected the ascendancy of Raphael. In this center, the most important artist of the period were undoubtedly of Northern origin: the Dutchman Fernando Esturmio (Storm), and the Fleming Pedro de Campa?a (Kempeneer). The latter, the more gifted of the two, was born in Brussels in 1503. He was trained in Italy, but in 1537 he is known to have been employed in the Cathedral of Seville. Shortly before 1563 he returned to his native country. The style of this master includes elements derived from Michelangelo, but these are offset by original plastic qualities and a sense of drama. One of Campa?a's key works is the Descent from the Cross (1547) in Seville cathedral, a painting that anticipates the Baroque of Rubens and was much admired by other Spanish artists, particularly Murillo. Campa?a had a more amiable and genuinely Raphaelesque side, evident in the altarpiece of the Marshal's Chapel in Seville cathedral, which he was commissioned to paint in 1555. His progress toward the Baroque and his interest in the rendering of light are revealed in his admirable Adoration of the Magi, which was painted in 1557
Painting ID:: 62362
141 x 128 cm (incl. frame) Museo del Prado, Madrid Machuca was an extraordinary artist, an architect, sculptor and painter. He built the palace of Charles V in Granada, a work of exceptional quality, one of the very few existing Renaissance buildings with a circular court. His training as an architect is evident in the design of the original ornamented frame of this painting with plenty of decorative elements typical of the architecture of first Spanish Renaissance or Plateresque style. It is indicated on this frame that the altarpiece was ordered by Do?a In?s de Castillo, and it was finished in 1547
Painting ID:: 62363
1460 Pen over chalk drawing on paper, 240 x 357 mm Mus?e du Louvre, Paris Paintings in the style of Rogier van der Weyden that are no longer extant are also recorded in several drawings not from the workshop of the Brussels town painter. Among the most notable is this Descent from the Cross, frequently said to derive from an original by Rogier himself, and sometimes even ascribed to Robert Campin. Surrounded by Christ's mourning friends, Joseph of Arimathea and Nicodemus are carrying the body just taken down from the Cross to the tomb. The very unusual outer area, with raised sections at the sides where angels hover with the nails and the crown of thorns, may refer to the place where the painting connected with this drawing was installed - perhaps it was to be placed below a tall window. The composition obviously appealed to contemporary taste, and was copied in painting and sculpture several times. It shares important elements with Rogier's most influential work, the Deposition (Prado, Madrid): there are considerable similarities in the construction of the scene, which again is transferred to an altar shrine, and in some of the figures, particularly those of the bearded Joseph of Arimathea and Mary Magdalene. The Virgin Mary and the flying angels, on the other hand, are more like the corresponding figures in the Crucifixion Triptych (Kunsthistorisches Museum, Vienna), and the figure of St John resembles his counterpart in the Seven Sacraments Altarpiece (Museum of Fine Arts, Antwerp). However, while in a work like the St Columba Altarpiece (Alte Pinakothek, Munich) the figures, taken from various different pre-existing models, are merged into a meaningful whole, there are discrepancies in the Descent from the Cross. Joseph of Arimathea seems to be standing still as he holds the corpse, but the legs of Nicodemus suggest that he is walking away, an action that clashes with the Virgin's heartfelt embrace of Christ. And the Magdalene is obviously shown twice, as the woman with the vessel of ointment - the saint's attribute - standing on the extreme right, veiled as in the Crucifixion Triptych, and as the figure of the Magdalene from the Deposition, identifiable as the former sinner by her low-cut, expensive dress. These inconsistencies cannot be reconciled with Rogier's careful, confident style, and the drawing cannot therefore be considered a copy from a work conceived by him. In fact it is not yet clear whether it is a copy at all, or whether it may be a sketch for a design.Artist:WEYDEN, Rogier van der Title: Descent from the Cross Painted in 1401-1450 , Flemish - - graphics : study
Painting ID:: 63879
Descent from the Cross
Flemish Baroque Era Painter, 1577-1640 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The outsides of the wings are devoted to St Christopher. According to his medieval legend, the huge St Christopher carried the Christ Child across a river on his shoulders. A hermit on the right lights his way with a lantern. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (outside left) , 1601-1650 , Flemish , painting , religious
Painting ID:: 64196
Descent from the Cross
Flemish Baroque Era Painter, 1577-1640 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The right wing of the great triptych of the Descent from the Cross is devoted to the presentation of the Infant Christ in the Temple at Jerusalem. The elderly Simeon holds the Child in his arms while the prophetess Anna, located in the shadows between Simeon and Mary, looks on joyfully. Joseph, who has brought two sacrificial doves with him, kneels down respectfully. The onlooker on the left edge of this splendid temple interior is Nicolaas Rockox, a friend of Rubens and a prominent figure in Antwerp. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (right wing) , 1601-1650 , Flemish , painting , religious
Painting ID:: 64197
Descent from the Cross
Flemish Baroque Era Painter, 1577-1640 1612-14 Oil on panel, 421 x 153 cm O.-L. Vrouwekathedraal, Antwerp The outsides of the wings are devoted to St Christopher. According to his medieval legend, the huge St Christopher carried the Christ Child across a river on his shoulders. A hermit on the right lights his way with a lantern. , Artist: RUBENS, Pieter Pauwel , Descent from the Cross (outside right) , 1601-1650 , Flemish , painting , religious
Painting ID:: 64198
Peter Paul Rubens 1612-1614
Type Oil on panel
Dimensions 420.5 cm x 320 cm
cyf Descent from the Cross Flemish Baroque Era Painter, 1577-1640
Peter Paul Rubens (June 28, 1577 ?C May 30, 1640) was a prolific seventeenth-century Flemish Baroque painter, and a proponent of an exuberant Baroque style that emphasized movement, color, and sensuality. He is well-known for his Counter-Reformation altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
In addition to running a large studio in Antwerp which produced paintings popular with nobility and art collectors throughout Europe, Rubens was a classically-educated humanist scholar, art collector, and diplomat who was knighted by both Philip IV, king of Spain, and Charles I, king of England.
Rubens was a prolific artist. His commissioned works were mostly religious subjects, "history" paintings, which included mythological subjects, and hunt scenes. He painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house. He also oversaw the ephemeral decorations of the Joyous Entry into Antwerp by the Cardinal-Infante Ferdinand in 1635.
His drawings are mostly extremely forceful but not detailed; he also made great use of oil sketches as preparatory studies. He was one of the last major artists to make consistent use of wooden panels as a support medium, even for very large works, but he used canvas as well, especially when the work needed to be sent a long distance. For altarpieces he sometimes painted on slate to reduce reflection problems.
His fondness of painting full-figured women gave rise to the terms 'Rubensian' or 'Rubenesque' for plus-sized women. The term 'Rubensiaans' is also commonly used in Dutch to denote such women.
