Peter Paul Rubens, Siegen 1577 - 1640 Antwerp, Workshop (attributed)

Peter Paul Rubens

Siegen 1577 - 1640 Antwerp

Workshop (attributed)

„Crucifixion“

Around 1620/30

Oil on canvas, relined

113 x 66 cm



The world-famous, versatile painter Peter Paul Rubens produced several versions of the crucified Christ. He completed his paintings, of which more than a thousand have survived, in collaboration with his pupils, which was typical of the painter's immensely productive workshop: in a multi-stage working process, his pupils executed various parts of the paintings, this being meticulously controlled by their master. The most famous oil painting of this group of Crucifixions was created around 1613 and can be seen today in the Royal Museum of Fine Arts in Antwerp (inv. no. 313). This extremely high-quality repetition can be attributed to the workshop and is to be regarded as an authentic work of the time due to its format and execution. Both versions probably go back to an oil sketch, which must have served as a model for the executors.



Rubens is particularly known for sensual modes of representation in his religious compositions. This work is also based on the overall composition of the Antwerp painting but shows the Crucified with an even more elongated body and sinewy expressions of the limbs in the three-nail type. The skilful use of light and shadow makes Christ stand out even more against the dark background. The city vedutas are visible in the lower edge of the picture in the background, with the luminous effects giving the scene a mystical impression. The pinned leaf at the top of the cross identifies Jesus as King of the Jews. It is reinforced by Jesus' upward gaze in a vertical axis of vision, thus attracting the viewer's attention. Furthermore, the colouristic effect of the varied skin parts is particularly remarkable, coupled with the dynamic expression of movement in the perizonium, which is loosely draped around his waist. In typical baroque manner, it is shown voluminously puffed and complexly pleated. The blood-soaked perizonium is also comparable to that in the depiction of the Descent from the Cross in the Cathedral of Our Lady in Antwerp.



Research has shown that Rubens often executed details such as parts of the face or hands, while his pupils produced the general composition from his sketch. A particularly dramatic moment is the vividly rendered pathos of Christ's face. This is reminiscent of antique sculptures and especially of the Laocoon group, which Rubens knew from his stay in Rome. Because of this antique aspect, the scene almost resembles a snapshot, reflecting the rigidness of his body at the dramatic threshold from life to death. The blackened, bluish lips indicate the moment of death, while the protruding eyeballs testify to the deep emotion of the dying man on the cross. Together with the tautly stretched arms and fist-clenched hands, the masterly skill of the painter and his collaborators is revealed here.



This work clearly demonstrates Rubens' important position and the lasting influence he had on Dutch painting. Other versions of this crucifixion scene have fetched high prices at auctions, demonstrating the prevalent collector's passion for Rubens' works.