Rubens's painting âDescent from the Crossâ (1612 -1914) is the second of the painterâs great altars, which was painted for the Cathedral of Our Lady in Antwerp.
Historical part
The work consists of three parts. The left one is âThe Meeting of Two Sistersâ, the central one is âDescent from the Crossâ and the right one is âMeetingâ. âDescent from the Crossâ - a painting by Rubens, written in the Baroque style under the influence of the Venetian school. The color scheme, as well as chiaroscuro, are reminiscent of the work of Caravaggio of the Roman period, which laid the foundation for realism and, from a young age, thought about the mortality of life.
The center panel is considered to be the basis of 421x311 cm. Two side panels are equal in height to it and 153 cm in width. Rubens's painting âDescent from the Crossâ was painted for one of the side chapels of the chapel of the Arquebusier Guild. This work has never left Flanders. Only Napoleon, having conquered the country in 1794, took him to Paris. After his defeat in 1815, Rubens's painting âDescent from the Crossâ returned to his homeland.
Mary and Elizabeth
The left panel describes the meeting of Mary and Elizabeth after the Annunciation, when the elderly and childless Elizabeth finally became pregnant.
At this time, the baby leaped in Maryâs womb, and Elizabeth was filled with holy spirit and solemnly and enthusiastically informed Our Lady of her future. There is an assumption that Rembrandt model of Mary served as a young pregnant wife Isabella Brandt. From left to right we see the life of the Savior - the picture of Rubens âDescent from the Crossâ.
Composition center
There are nine figures on the central panel. Compositionally, they are located diagonally. This gives dynamism to the action. Holding the fabric with his hands and teeth, the workers who are upstairs carefully and carefully remove the body of Christ from the stairs.
St. John in red robes stands with one foot on the stairs. His whole figure was bent to support the body in the most energetic way. So depicts the "Descent from the Cross" Rubens. One of the Savior's feet, with bloodstained nail marks, easily touches Magdalenâs beautiful shoulder with golden hair.
The body of Christ with his head falling on his shoulder, which is not disfigured by death, gives the most accurate picture of the bitterness of the end of his life's journey. This tells the picture of Rubens "Descent from the Cross." The body of the Savior glides effortlessly along the veil, which everyone carefully supports. Joseph Aramaic and Nicodemus, located on the sides of the stairs, together with the workers form a square. Our Lady in blue mourning robes holds out her hands to the Son. In the right corner of the stairs there is a copper basin, where nails, a
crown of thorns and a Crucifix in caked blood are collected. Daylight goes out. The crowd of curious has already dispersed.
Left Panel - Sretenie
It depicts the former Roman Repev, and now Saint Christopher, the patron saint of the Arquebusier order, who commissioned a painting to meet the Holy Baby to carry him across the river.
The child was very heavy, as he bore all the hardships of the world. Later, Christ baptized the giant Repeva under the name Christopher.
âDescent from the Crossâ - a painting by Rubens, in which he voluntarily or involuntarily showed his technical skills in all its splendor. Rubens created the image of Christ, revealing it in its entirety. The painter became not only a great secular, but also the greatest religious artist. Color, form and composition gave an explanation, interpreted the faith of his contemporaries. This concludes the description of Peter Rubens's Descent from the Cross.