| (요 19:17) | ○그들이 예수를 맡으매 예수께서 자기의 십자가를 지시고 해골(히브리 말로 골고다)이라 하는 곳에 나가시니  눅23:33 |
Jheronimus Bosch ca. 1450 – 1516
The Carrying of the Cross (Escorial)
oil on panel (150 × 94 cm) — ca. 1498
Monastery of El Escorial, San Lorenzo de El Escorial
This work is linked to John 19:17
Please scroll down to read more information about this work.
It is not entirely clear if Bosch painted The Carrying of the Cross himself. In line with other work from his studio is the angle at which the faces are held - the caricatures in profile, the rest turned halfway to the viewer.
Bosch made at least two more paintings on this subject: one is in Vienna, the other in Gent.
The man in white is Simon of Cyrene, who was ordered to help carrying the cross. Jesus was hindered not only by the weight of the cross, but also by blocks with nails that were tied to his feet.
To the right a soldier leads the way. Like Christ he looks us, with a look suggesting 'I may be the one doing this, but it could have been you just as well'. Perhaps that is the message of this painting.
The crescent on the soldier's blue gown is an anachronistic detail. Around 1500 many Europeans feared an invasion of Islamic armies.
Jheronimus Bosch ca. 1450 – 1516
The Carrying of the Cross (Ghent)
oil on panel (77 × 84 cm) — ca. 1510
Museum voor Schone Kunsten, Ghent
This work is linked to John 19:17
A curious painting with an extraordinary composition for its day and age. The figures are jammed into a small space, leaving almost no room between them. All faces are caricatures except for two: the face of Jesus bearing the cross, and that of Veronica. She holds a towel with an imprint of the face that she has just dried.
Some say Bosch did not make this work himself. In addition, it is not entirely certain when the painting was made. The work is nevertheless often seen as the best example of Bosch's hallucinatory style.
He made at least two more paintings on the same subject: one is in Madrid, the other in Vienna.
Jheronimus Bosch ca. 1450 – 1516
The Carrying of the Cross (Vienna)
oil on panel (57 × 32 cm) — ca. 1500
Kunsthistorisches Museum, Vienna
This work is linked to John 19:17
The two murderers have arrived on Golgotha while Jesus is on his way, pushed on by the crowd. A priest is taking confession of one the murderers - quite an anachronism.
This panel was once the left panel of a triptych. The rest probably showed scenes from the Passion as well.
Bosch made at least two more paintings on this subject: one is in Madrid, the other in Gent.
Arent de Gelder 1645 – 1727
Journey to Golgotha
oil on canvas (72 × 60 cm) — 1715
This work is linked to John 19:17
This painting is part of De Gelder's Passion series.
Gustave Doré 1832 – 1883
Jesus Collapses Under the Cross
engraving — 1865
This work is linked to John 19:17
Jesus collapses several times on his last journey. Romans watch and keep the spectators at a distance. Two women (Mary's?) lament his suffering.
Martin Schongauer ca. 1447 – 1491
The Carrying of the Cross
copper-plate (288 × 430 mm) — 15th century
This work is linked to John 19:17
This is Schongauer's largest print, and also one of his most detailed. Other artists would have preferred painting on a large canvas, but Schongauer used a 43 cm (17 inch) wide copper plate.
The print shows how Jesus collapses under the cross, on his way to Golgotha. He is surrounded by a crowd of spectators and soldiers. The landscape in the background shows resemblance to the works of the Flemish Primitives. In his oil paintings Schongauer was much indebted to the Flemish masters.
Titian 1487/90 – 1576
The Carrying of the Cross
oil on canvas (71 × 91 cm) — c. 1508-1509
This work is linked to John 19:17
Christ appears to look at the seer, turning away from the man that holds him by a rope around his neck. Next to them are two other men.
Interesting, symmetrical composition. The crossing arms make the figures appear closer to each other.
Many attribute the painting to Giorgione. He and Titian both had close ties with the San Rocco confraternity, who are the most likely commissioners of the work.
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