González Mozo, Ana, The new IRRS of The 'Descent from the Cross in the Prado' En:, Rogier van der Weyden in context. Read the companion article, about the Raising of The Cross, here. 19-44. 1230. The Cleveland Museum of Art (organizer) (November 29-December 31, 1967). Nicolaissen, Jan, Martin Schongauer ein mitarbeiter dez werkstatt Hans Memling?, Bruckmanns Pantheon, 57, 1999, pp. / Alto 2 pies, 6 pulg; ancho 1 pie, 11 pulg. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19:38–42).In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. Panofsky, Erwin1892-1968, Les Primitifs Flamands, Hazan, Paris, 1992, pp. Nicodemus stands on a ladder, pincers in hand for removing the nails from Christ's hands. Museo Nacional del Prado, Museo del Prado. Philip II commissioned new wing panels in 1566, which were painted by Juan Fernández Navarrete, El Mudo (1526-1579). Didier,R. 142-143 L.58. Kemperdick Stephan, ''The Flémalle-Campin.Van der Weyden problem: still exixting''. Greub-Fracz, Krystyna., Die Grisaillen des Genter Altars. Dubois, A., The Flemish primitives. Joseph kneels, holding the two sacrificial turtle-doves he brought according to the law. ", Theurerkauff, Christian. Request artworks available in our catalogue in digital format. Conferencia: (VO) El tríptico de los Siete Sacramentos de Rogier van der Weyden, The Virgin and Child, known as the Durán Virgin. His heavy stubble must have grown during his torments. Art Things Considered is an art and travel blog for art geeks, brought to you by ArtGeek.art  — the search engine that makes it easy to discover more than 1300 art museums, historic houses & artist studios, and sculpture & botanical gardens across the US. 19/ lám.1. 231/lám. You can use it however you want. 47-50. Reprobus lifted him onto his shoulders and strode into the fast-flowing water, but the small burden he was carrying became heavier and heavier, until the giant was staggering under the weight. Gheon, Henri, Marie, Mere de Dieu, Pierre Tisne, 1939, 1939, pp. . lám.85. Catálogo Museo del Prado, 1910. The composition of the Descent is simplified, the light is concentrated, the figures grouped along a unifying line on a flat plane. Castillo-Ojugas, Antonio, Una visita médica al Museo del Prado, You & Us, Madrid, 1998, pp. Diálogos entre arte y anatomía Her lively earthiness complements Mary’s purity and spiritual serenity, and she represents servitude to the affirmation of Jesus’ sovereignty. Wood low-relief, 39 ½ x 63 7/8 x 2 ¼ (100.5 x 162.5 x 5.7), Purchase Fund (purchased from the artist). Gemäldegalerie de, 2008, pp. 189-237 [200]. Las Marias y San Juan al pie de la cruz del Salvador. Revista del Departamento de Historia da Arte, 9, 2010, pp. Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. La invención del cuerpo. Catálogo Museo del Prado, 1942-1996. 15. A study in patronage, University of California press, Berkeley Los Angeles, 1969, pp. Lane, Barbara G., The altar and the altarpiece. Tüngel, Richard, 400 Jahre Kunst, Kultur, und Geschichte im Prado, Schweizer Verlagshaus, Zurich, 1964, pp. El nacimiento de una pintura: de lo visile a lo invisible, Consorci de Museus de la Comunita, 2010, pp. Leuven 22-24 Oct. 2009, De El Bosco a Tiziano: arte y maravilla en El Escorial. 1082 ‎ (4 F) He was looking not only for a solid composition for the panel in and of itself, but also for the formula that would draw the three panels of the triptych into a unified composition. Tabla de Roger van der Weyden, Real Monasterio, Escorial, 1930. lám.17. 134,267. [2], In addition to the original work for Antwerp, Rubens painted two other versions exploring the same theme. Ferrarino, Luigi, La Deposizione dalla Croce di Roger Van der Weyden, Studium, pp. 13-72. Nicodemus and Joseph ... Sculpture (25,892) Wood (14,135) Geographic Location. 103-108. Her come-hither eyes invite us to participate in the moment of revelation. Christ`s body is being lowered from the Cross by three men. This a great example of Rubens’ creative problem-solving. 110. 72. The figures are slightly less than life-size.