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Christ Crucified
c. 1632 · Óleo sobre lienzo (oil on canvas) · Museo Nacional del Prado, Madrid
For Good Friday
Sizes
image 5.7×8.5 in on a 8×10 in sheet
The museum’s file supports 8×10 in at 359 dpi; a larger sheet would fall below our floor.
What is dpi?
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.
Hahnemühle Photo Rag, 308 gsm cotton rag · pigment inks · printed to order · sold unframed
Printed to order · the whole painting, never cropped · if it arrives damaged, we replace it
Shipping included in the price to the eight countries we ship to · dispatched in 2–4 working days · replaced if it arrives damaged, nothing to send back.
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All editionsAbout this painting
Christ hangs alone against a dark ground, His feet side by side on a small block of wood, each with its own nail. His head has fallen forward and His hair covers half His face. Blood runs thin from the hands and the side, and nothing else moves. The Prado records the four nails as following Francisco Pacheco's argument for the format from 1611 and the plaque as following John's wording, and reads the effect, after Bernardino de Pantorba, as sleep rather than death. Behind Him is no Golgotha; for Jonathan Brown that dark ground makes the redemption not a past event but a present one. The Prado's hypothesis is that Jerónimo de Villanueva ordered Diego Velázquez's canvas for San Plácido in reparation for injuries done to a crucifix in a Portuguese Jewish house in 1630. The dark behind Him is this afternoon's.
Sources: Museum's own reading: idealized anatomy, four-nail formula per Pacheco, titulus NAZARAENVS after John, 'sweet sleep rather than bitter death' · Museo Nacional del Prado, Enciclopedia, 'Cristo crucificado, Velázquez'. · Alfonso Rodríguez G. de Ceballos, "El Cristo Crucificado de Velázquez: trasfondo histórico-religioso," Archivo Español de Arte, LXXVII/305 (2004), pp. 5-19 · Corroborates four-nail debate and commission/provenance details · María de la Luz Ruiz Miranda, 'Una imagen religiosa como obra de arte', Revista de Teoría del Arte 35 (2021), quoting Jonathan Brown, 'Velázquez. La técnica del genio', p. 70. · Museo Nacional del Prado, 'The Crucified Christ' (Velázquez), P001167.
Jesus therefore, when he had taken the vinegar, said: It is consummated. And bowing his head, he gave up the ghost.
John 19:30 · Douay-Rheims (Challoner)