Christ. Spain, 16th century. Carved and polychrome wood.
Christ. Spain, 16th century.
Carved and polychrome wood.
Measurements: 40,5 x 30 cm; 49,5 x 39 cm (frame).
Figure of devotional character made in carved and polychromed wood, representing the figure of Christ, of great detail in the anatomical treatment, fruit of a careful and deep study of the natural. The different muscles in tension are clearly visible, as are the ribs protruding from the consumed and exhausted body. It is a suffering anatomy. Christ's body conveys, in a totally naturalistic manner, the suffering and tension to which he is subjected. The figure is extremely slender but strong, with marked musculature, revealing the physical effort. The torso is stretched due to the forced posture of the Crucified One, and his body falls in a slight curvature, having lost its strength shortly before expiring. The artist has taken care with all these details to make the faithful feel moved by the Saviour's suffering, to understand the magnitude of his sacrifice on behalf of humanity. With regard to the composition, the purity cloth plays an important role, knotted at one side and in the centre and falling vertically with voluminous folds. It reinforces the asymmetry derived from the deviation of the body, and is worked with great volume and detail.
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Christ. Spain, 16th century.
Carved and polychrome wood.
Measurements: 40,5 x 30 cm; 49,5 x 39 cm (frame).
Figure of devotional character made in carved and polychromed wood, representing the figure of Christ, of great detail in the anatomical treatment, fruit of a careful and deep study of the natural. The different muscles in tension are clearly visible, as are the ribs protruding from the consumed and exhausted body. It is a suffering anatomy. Christ's body conveys, in a totally naturalistic manner, the suffering and tension to which he is subjected. The figure is extremely slender but strong, with marked musculature, revealing the physical effort. The torso is stretched due to the forced posture of the Crucified One, and his body falls in a slight curvature, having lost its strength shortly before expiring. The artist has taken care with all these details to make the faithful feel moved by the Saviour's suffering, to understand the magnitude of his sacrifice on behalf of humanity. With regard to the composition, the purity cloth plays an important role, knotted at one side and in the centre and falling vertically with voluminous folds. It reinforces the asymmetry derived from the deviation of the body, and is worked with great volume and detail.
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