Crucifixion of the Crucifixion

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Crucifixion of the Crucifixion Crucifixion of the Crucifixion - an example of late Gothic table painting in the Netherlands, by one of the main representatives of Gothic realism - Rogier van der Weyden. The work was done around 1445. It is currently in the collection of the Kunsthistorishes Museum in Vienna.

It is a triptych measuring 101 x 70 cm (center), 101 x 35 cm (side wings). The paintings are painted on oak wood using oil technique. The central part represents the Crucifixion Group, in the center of Jesus on the cross, at the feet of whom the kneeling Mary is supported by John the Evangelist. On the right hand is a couple of funders kneeling in court clothes. It was not possible to identify this courtly couple. In the side wings were painted the figure of Mary Magdalene with a can of oils and St. Veronica holding veraicon. Beyond the saints, the angels are held in their entirety in a uniform dark blue tone. The background is painted in green tones a vast landscape full of hills, rocky decay and individual trees. The horizon is covered to the right of the city view with picturesque fortifications. The background of the left wing varied the view of the castle. The sunlit landscape is integrated, regardless of the triptych split.

The ambience of the scenes is animated by the light wind, which moves dynamically the draperies of the garments, the dominant feature of which is surely the floating perizonium material hovering the hips of Christ, which contrasts with the desperate stiffness of the dead Messiah's body. Attention is very sharp image that allows you to observe the smallest details, exposing facial expressions. On the color side, there is the advantage of intense colors. Contrast is also found in the colors of the robes. The artist assembled the strong blue of Mary's garment with the red clothing of St. John. Maria Magdalena's red robes and red dress cover a long greenish-blue veil. This is a reversal of Veronica's dress colors, with a dark gown almost completely covered by a robe held in sharp red. Maria Magdalena's crying hides her face. St. Veronica, like Mary, has a head covered with a white veil, her dress is decorated with courtly elegance, which is also featured in the biblical theme of the kneeling donors. Lastly, Mary - was placed in the place where Mary Magdalene usually occupies this iconographic type. The cross of the Virgin Mary is overwhelmed with pain and is deeply moved by the departure of the Savior from the terrestrial world, which in this triptych exudes a sunny atmosphere built by the blue sky with fine clouds of clouds. Bibliography

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