Descent from the Cross

…his most famous work, the Descent from the Cross, in the Orsini Chapel of the church of Trinità dei Monti in Rome. The dynamically posed, monumental figures in this powerful and agitated composition make it one of the most important works done by the younger generation of Mannerist painters in…

…the Seville cathedral in the Descent from the Cross (1547) by Pedro Campaña (Pieter de Kempeneer), an artist from Brussels, and subsequently in the refined court portraiture of Anthonis Mor (Anthony More) and Alonso Sánchez Coello, whose royal portraits possess an elegance reminiscent of Bronzino’s Florentine style. Although Campaña’s paintings…

…in a comparison of Rembrandt’s Descent from the Cross (1632/33) with the print after Rubens’s Descent from the Cross that Rembrandt unquestionably used. Such a comparison shows that Rembrandt had fundamentally transformed Rubens’s heroic pathos into a powerful realism that evokes in the viewer a deep sense of involvement in…

…cart is based on Rubens’s Descent from the Cross (1611–14) in Antwerp cathedral, which Gainsborough copied.

…second triptych for Antwerp’s cathedral, Descent from the Cross (1611–14), is more Classical and restrained in keeping with its subject. This work reflected Rubens’s vigorous renewal of the early Netherlandish tradition of Jan van Eyck, Hans Memling, and Rogier van der Weyden. Its widespread fame was ensured by the publication…

…the celebrated panel of the Descent from the Cross for the chapel of the Archers’ Guild of Louvain. In this deposition there is evident a tendency to reduce the setting of a scene to a shallow, shrinelike enclosure and to orchestrate a rich diversity of emotions. These devotional qualities are…