Description of the painting by Michelangelo Buanarroti “Crucifixion of Christ”

Description of the painting by Michelangelo Buanarroti “Crucifixion of Christ”

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Many of the works of the genius have been lost. This applies to his paintings, which did not survive the battle with time. Many can only be guessed from the written information of authoritative contemporaries of Michelangelo. Among these lost masterpieces include the paintings of Mourning, Resurrection, and the Crucifixion of Christ.

All of them were made at the request of Vittoria Colonna, the beloved master. Love for this woman made the paintings especially vibrant and sensual. They were able to evoke genuine emotions, as evidenced by Vasari's memories of the paintings he saw.

Crucifixion of Christ in the authorship of Michelangelo can not be called another interpretation of biblical history. He portrayed his Jesus alive. The crucified Christ remains with the artist with his eyes open. He turns them to heaven, to his father. Turning his gaze to heaven, Christ appeals to his parent.

He is made alive by the figure of Christ and the torment that his body still experiences. It did not go limp as in other versions of the crucifix, but continues to struggle with pain. You can see muscle tension and suffering on the face, which allows us to speak with confidence about the power of suffering.

The spread of the Savior’s hands is impressive: when they arrive at the cross with nails, they do not lose their freedom. Such openness makes the figure weak and strong at the same time: now there is nothing to be afraid of, and he never intended to hide anything.

The slightly inclined figure is obtained from an oblique cross, but the chiaroscuro of the figure from this becomes almost flashy. This is a loud appeal to the viewer, which draws all attention to the central figure of Christ and leaves almost modest Maria and Jonah at the foot of the instrument of torture.

The vague language of the lines enhances the emotional component of the picture, which is amplified with each subsequent option. Crucifixion does not lose its religious strength, but acquires a new sound, which is so necessary for the new time and worldview of the Renaissance.

Man With Eagle Owl

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