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Valencian School. Second third of the 16th century.
1/10
Beschreibung
Valencian School. Second third of the 16th century.
"The Road to Calvary"
Oil on panel
222 x 178 cm.
Considering the stylistic features and the similarity of certain iconographic elements commonly used in Valencian Renaissance art—particularly noticeable in the representations of the Virgin, Saint John, and Veronica, as well as the contorted figures of the soldiers in brightly coloured garments—it is clear that this panel was created in the mid-16th century, specifically in the central third, by a master of the Valencian school.
This interesting Renaissance-influenced panel, which depicts Christ on the way to Calvary, one of the climactic episodes of the Passion, perfectly illustrates the accounts of the event given by Saint John: “Then they took Jesus, and He, bearing His cross, went out to a place called the Calvary, which is called in Hebrew, Golgotha” (John 19:16-17), and Saint Luke: “A great multitude of the people followed Him, and women also mourned and lamented Him” (Luke 23:27).
The panel, dominated by the large central figure of Christ carrying the cross, has a certain symmetry, despite its initial appearance of chaotic composition. On closer inspection, it is evident that the numerous figures are skilfully arranged, and although they may seem unbalanced in number, the space they occupy is evenly distributed, creating a perfect visual balance.
On the left side, a gate in the wall of Jerusalem frames the scene, through which the mournful procession is exiting. Among the crowd, Christ’s supporters stand out: the three Marys (the Virgin, Salome, and Clopas), Saint John the Evangelist, and Veronica, kneeling and holding in her hands the cloth with which she has just wiped the blood and sweat from Christ’s face, miraculously imprinting the Veil of Veronica Icon of the Holy Face.
In the centre, as mentioned, is Christ, dressed in a wide, blue tunic, walking slowly while carrying a heavy cross of thick beams. Behind Him stands a grimacing soldier, holding a spear with which he both intimidates Christ’s supporters and visually connects the figures on the left to the soldiers on the right. These three soldiers are depicted in varied, dynamic poses. The first, seemingly leading the procession, wears a helmet adorned with three feathers and carries a halberd on his right shoulder. Behind him, another soldier raises his head to blow a horn, announcing the arrival of the Nazarene, a motif probably borrowed from an Italian print or painting. Finally, in the foreground, the third soldier pulls a rope to destabilise Christ; on his belt, he carries some of the Arma Christi—the nails and hammer that will later be used for the crucifixion. The soldiers are dressed in contemporary clothing rather than historical attire, allowing the viewer to more easily identify with Christ’s sufferings.
In a clear and comprehensible style, the anonymous painter has successfully composed a scene with figures arranged across different planes, creating a realistic sense of space and perspective. The figures are well-modelled, with firm drawing and realistic anatomies, though there is a slight tendency towards elongated proportions and microcephaly. As mentioned, the figures are constructed through drawing, with a clear emphasis on line over colour, though colour is far from irrelevant, as evidenced by the rich palette of each figure. Particularly striking are the combination of red and green in Veronica’s garments, the blue of Christ’s tunic, and the yellow shirt of the soldier holding the rope. The faces are similar in their characteristics, with almost perfect ovals in which the painter has drawn large eyes and noses, small mouths with fleshy lips, sharp-profiled chins, and meticulously detailed hair. The landscape is treated sparsely and roughly: a cloudy sky and an arid ground dotted with pebbles and small botanical details, rendered with notable finesse.
Lastly, the frame is of particular importance, bearing a series of inscriptions, most of which are lost, especially on the lower section, which has disappeared entirely. On the upper section, a few letters remain but not enough to decipher the text. On the sides, however, two interesting inscriptions can be found: on the left, “[VERE] LANG[U]ORES NOSTROS IPSE TULLIT ET DOLORES NOSTROS IPSE PORTAVIT” (“Surely He took up our pain and bore our suffering”), from Isaiah 53:4-5, which forms the first stanza of the Vere languores motet (published in Rome in 1583) by the renowned Renaissance polyphonist Tomás Luis de Victoria (c. 1548-1611); and on the right, “TVLIT ABRAHAM LIGNA HOLOCAVSTI ET IMPOSVIT SVPER ISSAC FILIVM SVM IPSE VERO PORTABAT IN MANIBVS IGNE ET GLADIUM [CUMQUE DUO PERGERENT SIMUL]” (“Abraham took the wood for the burnt offering and placed it on his son Isaac, and he himself carried the fire and the knife. As the two of them went on together”), from Genesis 22:6. Both texts refer to sacrifice: the first to Christ’s Passion, of which the Road to Calvary was a key moment; and the second to the sacrifice of Isaac by his father Abraham, which has always been seen as a precursor to the sacrifice of Christ to redeem the human race from Original Sin.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
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Valencian School. Second third of the 16th century.
"The Road to Calvary"
Oil on panel
222 x 178 cm.
Considering the stylistic features and the similarity of certain iconographic elements commonly used in Valencian Renaissance art—particularly noticeable in the representations of the Virgin, Saint John, and Veronica, as well as the contorted figures of the soldiers in brightly coloured garments—it is clear that this panel was created in the mid-16th century, specifically in the central third, by a master of the Valencian school.
This interesting Renaissance-influenced panel, which depicts Christ on the way to Calvary, one of the climactic episodes of the Passion, perfectly illustrates the accounts of the event given by Saint John: “Then they took Jesus, and He, bearing His cross, went out to a place called the Calvary, which is called in Hebrew, Golgotha” (John 19:16-17), and Saint Luke: “A great multitude of the people followed Him, and women also mourned and lamented Him” (Luke 23:27).
The panel, dominated by the large central figure of Christ carrying the cross, has a certain symmetry, despite its initial appearance of chaotic composition. On closer inspection, it is evident that the numerous figures are skilfully arranged, and although they may seem unbalanced in number, the space they occupy is evenly distributed, creating a perfect visual balance.
On the left side, a gate in the wall of Jerusalem frames the scene, through which the mournful procession is exiting. Among the crowd, Christ’s supporters stand out: the three Marys (the Virgin, Salome, and Clopas), Saint John the Evangelist, and Veronica, kneeling and holding in her hands the cloth with which she has just wiped the blood and sweat from Christ’s face, miraculously imprinting the Veil of Veronica Icon of the Holy Face.
In the centre, as mentioned, is Christ, dressed in a wide, blue tunic, walking slowly while carrying a heavy cross of thick beams. Behind Him stands a grimacing soldier, holding a spear with which he both intimidates Christ’s supporters and visually connects the figures on the left to the soldiers on the right. These three soldiers are depicted in varied, dynamic poses. The first, seemingly leading the procession, wears a helmet adorned with three feathers and carries a halberd on his right shoulder. Behind him, another soldier raises his head to blow a horn, announcing the arrival of the Nazarene, a motif probably borrowed from an Italian print or painting. Finally, in the foreground, the third soldier pulls a rope to destabilise Christ; on his belt, he carries some of the Arma Christi—the nails and hammer that will later be used for the crucifixion. The soldiers are dressed in contemporary clothing rather than historical attire, allowing the viewer to more easily identify with Christ’s sufferings.
In a clear and comprehensible style, the anonymous painter has successfully composed a scene with figures arranged across different planes, creating a realistic sense of space and perspective. The figures are well-modelled, with firm drawing and realistic anatomies, though there is a slight tendency towards elongated proportions and microcephaly. As mentioned, the figures are constructed through drawing, with a clear emphasis on line over colour, though colour is far from irrelevant, as evidenced by the rich palette of each figure. Particularly striking are the combination of red and green in Veronica’s garments, the blue of Christ’s tunic, and the yellow shirt of the soldier holding the rope. The faces are similar in their characteristics, with almost perfect ovals in which the painter has drawn large eyes and noses, small mouths with fleshy lips, sharp-profiled chins, and meticulously detailed hair. The landscape is treated sparsely and roughly: a cloudy sky and an arid ground dotted with pebbles and small botanical details, rendered with notable finesse.
Lastly, the frame is of particular importance, bearing a series of inscriptions, most of which are lost, especially on the lower section, which has disappeared entirely. On the upper section, a few letters remain but not enough to decipher the text. On the sides, however, two interesting inscriptions can be found: on the left, “[VERE] LANG[U]ORES NOSTROS IPSE TULLIT ET DOLORES NOSTROS IPSE PORTAVIT” (“Surely He took up our pain and bore our suffering”), from Isaiah 53:4-5, which forms the first stanza of the Vere languores motet (published in Rome in 1583) by the renowned Renaissance polyphonist Tomás Luis de Victoria (c. 1548-1611); and on the right, “TVLIT ABRAHAM LIGNA HOLOCAVSTI ET IMPOSVIT SVPER ISSAC FILIVM SVM IPSE VERO PORTABAT IN MANIBVS IGNE ET GLADIUM [CUMQUE DUO PERGERENT SIMUL]” (“Abraham took the wood for the burnt offering and placed it on his son Isaac, and he himself carried the fire and the knife. As the two of them went on together”), from Genesis 22:6. Both texts refer to sacrifice: the first to Christ’s Passion, of which the Road to Calvary was a key moment; and the second to the sacrifice of Isaac by his father Abraham, which has always been seen as a precursor to the sacrifice of Christ to redeem the human race from Original Sin.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
Allegories, Legends and Holinesses
Auktionsdatum
Lose: 170
Ort der Versteigerung
Conde de Salvatierra, 8
Barcelona
08006
Spain
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