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The Descent from the Cross
c. 1435 · Oil on panel · Museo Nacional del Prado, Madrid
For Good Friday
Sizes
image 23.2×18 in on a 24×18 in sheet
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Dots per inch: how many pixels of the museum’s file go into each inch of paper. Our floor is 240 for sheets up to 20 inches, 180 up to 36 inches and 120 beyond, because a larger print is seen from further away. We never offer a sheet below the floor, and the number on each size is the one you receive.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
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All editionsAbout this painting
Two bodies make the same curve: Christ's, lowered from the Cross, and His Mother's, fallen in a faint below Him. Stephan Kemperdick reads her posture, mirroring the dead Christ's, as naming her Co-Redemptrix. Rogier van der Weyden pressed almost life-size figures into a shallow gilded box, so that, as the Prado says, they read as painted sculpture, a painted shrine that rivals the carved ones. Joseph of Arimathea stands in cloth of gold. A skull and a bone lie in the grass for Adam, over whose grave, by legend, Christ was crucified. The crossbowmen of Leuven commissioned it for their chapel, and the Prado finds them twice: small crossbows hang in the corner tracery, and Christ's outstretched arms take the same shape. Their weapon hangs in the corners. In the middle it is His body.
Sources: Museo Nacional del Prado, catalogue entry, inv. P002825 · Museo Nacional del Prado, 'Easy-to-read' artwork page · Stephan Kemperdick (Curator, Gemaldegalerie Berlin), CODART Canon · Smarthistory, 'Rogier van der Weyden, Deposition' · Museo Nacional del Prado, Voice resource
And after these things, Joseph of Arimathea (because he was a disciple of Jesus, but secretly for fear of the Jews), besought Pilate that he might take away the body of Jesus. And Pilate gave leave. He came therefore and took away the body of Jesus.
John 19:38 · Douay-Rheims (Challoner)