| (눅 23:33) | 해골이라 하는 곳에 이르러 거기서 예수를 십자가에 못 박고 두 행악자도 그렇게 하니 하나는 우편에, 하나는 좌편에 있더라  막15:22 |
Francisco de Zurbarán 1598 – 1664
Christ on the Cross
oil on canvas (290 × 165 cm) — 1627 
Art Institute, Chicago
This work is linked to Luke 23:33
Please scroll down to read more information about this work.
An impressive canvas by the Spanish painter Francisco de Zurbarán: impressive in size and in expressiveness. He signed it on the sheet of paper on the lower part of the cross.
Zurbarán made the painting for the sacristy of a Dominican monastery in Seville. He choose to show Christ with four iron nails, on a cross made of rough wood, without bystanders and without signs of suffering. The choice was the outcome of an intense debate among theologists and artists about the best way to display Jesus' agony.
It was one of Zurbarán's first works and immediately became a success. It resulted in many commissions for copies, that sometimes were made by assistants in the master's workshop.
His colleague Velázquez made a similar painting in 1632.
Albrecht Dürer 1471 – 1528
Seven Sorrows: Crucifixion
oil on panel (63 × 45 cm) — 1495-1496
Gemäldegalerie Alte Meister, Dresden
This work is linked to Luke 23:33
Part of Dürer's series on The Seven Sorrows of Mary. Jesus hangs on the cross, Mary Magdalene kneels at his feet. Next to her is a scull, a symbol to indicate that this is Golgotha, the Mount of Sculls. To the left are Mary and John the Evangelist.
Albrecht Dürer 1471 – 1528
Seven Sorrows: Jesus is Nailed to the Cross
oil on panel (62 × 46 cm) — 1495-1496
Gemäldegalerie Alte Meister, Dresden
This work is linked to Luke 23:33
Part of Dürer's series on The Seven Sorrows of Mary. Mary and John watch from a group as Jesus is nailed to the cross. The man in the foreground uses an auger to prepare the nailing.
Francisco Goya 1746 – 1828
Christ Crucified
oil on canvas (255 × 154 cm) — 1780
This work is linked to Luke 23:33
Mild depiction by Goya of the crucified Jesus. The bloodiest details have been left out. The beauty of the body is emphasized. Goya's fellow countryman Velázquez also showed Christ standing on an foot platform
Andrea Mantegna 1431 – 1506
The Crucifixion
oil on panel (67 × 93 cm) — 1457 - 1459
This work is linked to Luke 23:33
This is one of three panels that form the predella of the altarpiece Mantegna made for the San Zeno. The original painting is in the Louvre. The predella in the San Zeno currently shows a copy.
The painting is an example of Mantegna's excellent control of perspective, which is applied in two ways: atmospheric and linear.
The atmosperic perspective is created by the dark-to-light gradient in the sky. To our eyes light colors seem to be further away than dark colors. At the horizon the light blue of the sky merges with the light green of the landscape.
Linear perspective is applied in several ways. The crosses of the murderers (to the left and right of Jesus) have been turned slightly inwards, thus creating diagonal lines that lead to a point in the distance. So does the ridge of the mountain to the right. Even the cracks in the floor contribute to the composition of the painting.
Bertram of Minden ca. 1340 – 1414/15
Crucifixion
tempera on panel (54 × 60 cm) — c. 1394
Niedersächsisches Landesmuseum, Hannover
This work is linked to Luke 23:33
This is the left panel of Bertram's Passion altar-piece, the triptych he made for St. Johns in Hamburg. It is one of few works that depict the actual nailing to the cross.
The center panel shows the coronation of Mary. The outer panels show this Crucifixion, Jesus before Pilate, Mary and John under the Cross, and the Entry into Jerusalem.
Diego Rodríguez da Silva y Velázquez 1599 – 1660
Christ on the Cross
oil on canvas (248 × 169 cm) — 1632
Diego Rodríguez da Silva y Velázquez biography
This work is linked to Luke 23:33
The crucifixion reduced to its essence: a man alone on the cross.
The sign reads "Jesus of Nazareth, king of the Jews" in three languages: Hebrew, Greek and Latin.
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