The first thing that always strikes me about this painting is the size. It's nearly 10 feet tall, making it very close to life-sized. The second thing is just how realistic the figure is. Zurbarán's Jesus is idealized to be sure, but it's also a deeply humanized one. The face is individualized and the strong lighting that comes from somewhere outside the painting calls attention to anatomical details, like the musculature in his torso and the way his toes curl slightly over the too small platform.
When the painting was first shown in the monastery in Seville that commissioned it, people were awed. It was only visible from afar through a grill, and spectators were amazed by how three dimensional it seemed. Later commentators noted that it appeared to be a sculpture rather than a painting. This appearance is heightened by the fact that the scene doesn't appear within a historical context, but on a stark black background, strongly contrasting with Jesus' white figure. Painted at a time when Catholics were aggressively campaigning for new believers, this painting achieved its goal of evoking intense religious feeling.
Image Credit: Francisco de Zurbarán. The Crucifixion, 1627.
1 day 1 hour ago The Art Institute of Chicago “One day, I had a dream… there were three black boots in the middle of the road, with very high houses."
These are the words of Tarsila do Amaral, one of the leaders behind Anthropophagy, a national art movement that arose in 1920s Brazil with the goal of “cannibalizing” aspects of European modern art in order to make a new, more distinctly indigenous style. #5WomenArtists
Explore Tarsila’s work in depth when Tarsila do Amaral: Reinventing Modern Art in Brazil opens at the Art Institute this October.
Image: Tarsila do Amaral. City (The Street), 1929. Collection of Bolsa de Arte.
1 day 3 hours ago The Art Institute of Chicago NOW ON VIEW—Who Builds Your Architecture?
Whether majestic skyscrapers, eye-catching museums, or sprawling residential complexes, buildings emerge from intricate, lengthy processes of design and construction that involve a host of different actors. The New York–based group Who Builds Your Architecture? (WBYA?), who gives the show its name, presents research related to migrant workers and the global construction industry.