Christ on the Cross
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
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About this painting
His mouth is open because he is still speaking. Odile Delenda hears in the upturned gaze Christ's last words in Luke: Father, into thy hands I commend my spirit. Behind lies near-total darkness, the three hours the Gospels record, pressing the pale body forward into relief.
Four nails hold him, not three, forcing the legs parallel — obedience, not observation, Francisco Pacheco's rule from Arte de la pintura.
Reduced for private devotion, it repeats the Capuchins' Seville Crucifixion. Of another, behind a chapel grille in poor light, Palomino wrote that those who did not know took it for sculpture.
Sources: Museu Nacional d'Art de Catalunya, collection record 071676-000. · Odile Delenda, 'Los Cristos crucificados de Francisco de Zurbaran' (Dialnet 3278345). · Museo de Bellas Artes de Sevilla, via Google Arts & Culture partner page. · Luke 23:46, Douay-Rheims (Challoner). · Luke 23:44, Douay-Rheims (Challoner).
Now there stood by the cross of Jesus, his mother and his mother's sister, Mary of Cleophas, and Mary Magdalen.
John 19:25 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 5,521 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.