Editions
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The Crucifixion
probably 1491 · tempera on panel · National Gallery of Art, Washington
For Good Friday
Sizes
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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.
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All editionsAbout this painting
The spear has already gone in. Longinus sits his black horse beside the Cross, the spear resting on his shoulder, and at the lower left Our Lady has fainted, held up by Saint John and Mary the mother of James, the Magdalene and the holy women behind. Everyone is dealing with what has just happened. Except the children. On a hill at the upper left three small figures watch, two of them pointing, and Laurence Kanter, in the Met's 1988 Siena catalogue, calls them unprecedented. Benvenuto di Giovanni painted the scene for the predella beneath his Ascension altarpiece of 1491. The children are still pointing at Him.
Sources: Keith Christiansen, Laurence B. Kanter and Carl Brandon Strehlke, Painting in Renaissance Siena, 1420–1500, The Metropolitan Museum of Art, New York, 1988, cat. 62 c (Passion predella essay from p. 305; 62 d begins p. 311). · Miklós Boskovits and David Alan Brown, Italian Paintings of the Fifteenth Century, The Systematic Catalogue of the National Gallery of Art, Washington, 2003 (Benvenuto di Giovanni entries). · National Gallery of Art, artist biography, Benvenuto di Giovanni (NGA Systematic Catalogue); dates from the NGA artist page. · Samuel H. Kress Foundation, Kress Collection record, 'The Crucifixion', K1647B. · Google Arts & Culture, National Gallery of Art, 'Christ in Limbo', Benvenuto di Giovanni. · John 19:34, Douay-Rheims (Challoner).
But one of the soldiers with a spear opened his side: and immediately there came out blood and water.
John 19:34 · Douay-Rheims (Challoner)
The Record
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
| Artist | Benvenuto di Giovanni (Sienese, 1436–before 1517) |
|---|---|
| Date | probably 1491 |
| Museum | National Gallery of Art, Washington |
| Accession | 1952.5.53 |
| Medium | tempera on panel |
| Dimensions | painted surface: 41.2 x 52.9 cm (16 1/4 x 20 13/16 in); overall 42.5 x 53.8 cm; framed with four other paintings 59.69 x 283.21 x 5.4 cm |
| Sheet sizes | 18×24 in, 24×36 in, 32×48 in, 40×60 in |
| Held by | National Gallery of Art, Washington · 1952.5.53 the museum’s record |
|---|---|
| Source file | the National Gallery of Art’s own open-access file (IIIF) |
| Licence | public domain; the file released under CC0 |
| Master | 7,376 × 5,757 px, the file our printer receives |
| Chain | Taken from the National Gallery of Art’s own open-access file (IIIF) on 1 September 2026; held as our print master. |
The sheets
Printed on demand. Public-domain masterwork, reproduced from a 7,376 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.