The Descent from the Cross
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 | Workshop of Rembrandt, probably Constantijn van Renesse (Dutch, 1626–1680) |
|---|---|
| Date | 1650–1652 |
| Museum | National Gallery of Art, Washington |
| Accession | 1942.9.61 |
| Medium | oil on canvas |
| Dimensions | overall: 142 x 110.9 cm (55 7/8 x 43 11/16 in.) framed: 181 x 147.3 cm (71 1/4 x 58 in.) |
| Sheet sizes | 8×10 in, 11×14 in, 16×20 in, 18×24 in, 24×36 in, 32×48 in, 40×60 in |
Sizes
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View in the galleryAbout this painting
A man on the ladder holds out a torch, and the whole night leans toward it. The light finds two places: Christ's body coming down into the arms of the aged Joseph of Arimathea, white-haired, in scarlet, and the face of the Virgin as she swoons. Arthur Wheelock's catalogue for the National Gallery of Art reads Joseph as presenting Christ to the viewer while the figures below wait to help, and on stylistic evidence gives the hand to Constantijn van Renesse, with Rembrandt probably rethinking the design. Beyond the torch all is shadow. At the left edge one pale face looks in, as you do.
Sources: Arthur K. Wheelock Jr., 'The Descent from the Cross, 1650/1652', Dutch Paintings of the Seventeenth Century, NGA Systematic Catalogue online edition, 1942.9.61, read 2026-09-24 · National Gallery of Art, Washington, open-data release (published_images.csv, assistive description of the primary image of object 1200), read 2026-09-24
And after these things, Joseph of Arimathea (because he was a disciple of Jesus, but secretly for fear of the Jews), besought Pilate that he might take away the body of Jesus. And Pilate gave leave. He came therefore and took away the body of Jesus.
John 19:38 · Douay-Rheims (Challoner)
Printed on demand. Public-domain masterwork, reproduced from a 21,216 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.