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The Descent from the Cross
1650–1652 · oil on canvas · National Gallery of Art, Washington
For Good Friday
Sizes
image 7.7×10 in on a 8×10 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
A man on the ladder holds out a torch, and the whole night leans toward it. The light finds two places: Christ's body coming down into the arms of the aged Joseph of Arimathea, white-haired, in scarlet, and the face of the Virgin as she swoons. Arthur Wheelock's catalogue for the National Gallery of Art reads Joseph as presenting Christ to the viewer while the figures below wait to help, and on stylistic evidence gives the hand to Constantijn van Renesse, with Rembrandt probably rethinking the design. Beyond the torch all is shadow. At the left edge one pale face looks in, as you do.
Sources: Arthur K. Wheelock Jr., 'The Descent from the Cross, 1650/1652', Dutch Paintings of the Seventeenth Century, NGA Systematic Catalogue online edition, 1942.9.61, read 2026-09-24 · National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 1200), read 2026-09-24
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)