276:
503:
224:, their reformist, religious and social views had a profound effect on the visual arts in the century after his death. The son of a wealthy cloth merchant, Francis abandoned his inheritance to take up preaching in his mid-twenties. He venerated poverty and developed a deep appreciation for the beauty of nature. Byzantine depictions tended to show Christ as invincible, even in death. Imagery based on Franciscan ideals in the thirteenth century generally reinforce his veneration of simplicity and naturalism, infusing the paintings with the new values of humanism.
35:
319:
539:
393:
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343:("Triumphant Christ"), and for contemporary – especially Franciscan – taste lacked verisimilitude, as it bore little relation to the actual suffering likely endured during a crucifixion, and overly distanced the divine from the human aspect of Christ. From about 1240, painters favoured the
356:
The work surpasses
Cimabue's c. 1268 Arezzo crucifix in several ways. It is more human and less reliant on idealised facial types, and the anatomy is more convincing. Christ's face is longer and narrower, and his nose is less idealised. These features, according to art historian Robert Gibbs, give
360:
His head hangs in exhaustion, and his hands bleed from the puncture wounds suffered during his nailing to the cross. His arms are placed higher above his head and strain to carry the weight of his body, which visibly slumps. His body takes on a dramatic, almost feminine curve, the result of the
364:
The painting contains elements typical of
Cimabue's representations of Christ, including the illusionism of the drapery folds, the large halo, long flowing hair, dark, angular faces and dramatic expressions. But in other respects it conforms to the strict iconography of the thirteenth century.
450:
Its dimensions are highly symmetrical and proportionate, probably influenced by the geometric ideals, ratios and rules of design of the ancient Greeks. The balance of measurements, especially between the width and height of the cross, seem derived from the sides and diagonals of squares, and
526:
lost 60% of its paint. By 1966 it was returned to display at the lower Museo dell' Opera, which is at a lower elevation and closer to the waterline than the Santa Croce church, where it had been located during earlier floods. The water level reached the height of Christ's
173:. Christ is shown nearly naked: his eyes are closed, his face lifeless and defeated. His body slumps in a position contorted by prolonged agony. A graphic portrayal of human suffering, the painting is of seminal importance in art history and has influenced painters from
415:
flank Christ in small rectangular panels at either end of his outstretched arms. Both are dark-skinned and bear agonised and sorrowful expressions as they rest their heads on their hands and face inwards towards Christ. In keeping with the
Franciscan idea, the
298:
His body arches, forcing his torso to raise against the cross. Blood pours from the wounds in his hands as his head falls to the side from fatigue and the physical reality of approaching death. His body is naked except for a sheer and transparent
558:
manner. The tiny specks of pigment floating around the piece were recovered with pliers by staff wading in the water after the torrents had subsided. The wooden frame had significantly weakened, and it was necessary to separate it from both the
357:
him "a coarser but more personal expression". A similar approach is taken with the cloth in the background of the cross itself, which although highly ornamented, lacks the lavish ornamentation of the equivalent cloth in the Arezzo cross.
275:
447:. The horizontal cross-arms extend the full width of his outstretched body and are slotted into ridges in the vertical supports. The timber would have been cut and arranged by carpenters before Cimabue applied his design and paintwork.
267:. Pale tonalities dominate, with the main contrast found in the dark areas of Christ's hair and beard, which are utilised to make the features of his face stand out more and position his head as the focal point.
336:
His eyes are open, and his skin is unblemished. The cross is painted with deep blue paint, perhaps evoking an eternal or timeless sky. This evocation, not present in the main crucified figure, was known as the
1064:
291:. His hands and feet seem to extend beyond the pictorial space, which is delineated by the flat, coloured borders of the cross, in turn made up of at least six boards. Both his body and semi-circular
420:
surrounding the mourning saints is kept to a minimum. The size and positions of the figures are reduced compared to usual
Byzantine iconography to maintain sole focus on the passion of Christ.
574:, it was brought "around the globe in a curious, post-restoration state—part original artwork, part masterpiece of modern science... a thirteenth century—twentieth-century hybrid."
494:
in 1903 concluded that the Santa Croce crucifix "in technical examination...makes some approach to the
Florentine master, but it is rather of its time than by the master himself."
475:. It is relatively primitive compared to his 1290s works and is thus thought to date from his early period. According to Vasari, the crucifix's success led to the commissions at
315:
on Christ that emphasised pathos and human interest in the suffering of the
Passion; "Turn your eyes away from His divinity for a little while and consider Him purely as a man".
330:
443:
adjacent to the central board. There are another eight minor pieces; mostly terminals, bases or framing devices. The structure is reinforced by two full length vertical
1456:
455:. Cimabue was not rigid in his placement, however, and to accommodate the sway of Christ's body, altered the positioning of some of the boards on the lower half.
365:
Typical of depictions of the crucified Christ of this era, with his outstretched arms he is as wide as he is long, conforming to prevalent ideals of proportions.
547:
510:
The crucifix was installed in the church of Santa Croce at the end of the thirteenth century. The church flooded in 1333 and 1557, but only experienced serious
205:
423:
Their cloaks are simpler and lack the lavish gilding of the Arezzo crucifixion. The Virgin wears a red dress. Her robe was originally blue, but has darkened.
1359:
1116:
Messina, Isaac, "A New
Approach to the Restoration of Cimabue's Santa Croce Crucifix". New York: Syracuse University Honors Program Capstone Projects, 2014
554:
and
Ornella Casazza at the "Laboratario del Restauro" in Florence spent ten years reapplying paint. Utilising computer modelling, they worked in an almost
1265:
1374:
463:
Due to lack of surviving documentation, it is difficult to attribute unsigned works from the period with any degree of certainty. The origin of the
570:
Since restoration the work has been lent to galleries outside Italy, the first time it left
Florence since its creation. According to the critic
303:
that only just covers his thighs and buttocks. The choice of a white, veil-like loincloth, dramatically more modest than the red garment in the
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as the reapplied paint dried. The
Crucifix was put back on public display in 1976. The restoration was covered by the international press.
227:
The church at Santa Croce was the third that the Franciscans constructed at the site. The first was begun in 1295 and is where Cimabue's
1337:
1308:
193:
84:
1208:
947:
Bologna, Ferdinando. "The Crowning Disc of a Duecento 'Crucifixion' and Other Points Relevant to Duccio's Relationship to Cimabue".
287:
Compared to earlier works of this type, Christ's body is more physically corporeal, depicted as a real object, and his anatomy more
1010:. "A History of Painting in Italy, Umbria, Florence and Sienna, from the Second to the Sixteenth Century". London: J. Murray, 1903
1419:
1272:
1466:
1007:
491:
1164:
Thompson, Nancy. "The Franciscans and the True Cross: The Decoration of the Cappella Maggiore of Santa Croce in Florence".
1461:
1173:
The Beauty of the Cross: The Passion of Christ in Theology and the Arts, from the Catacombs to the Eve of the Renaissance
528:
502:
292:
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on the wood frame, which further swelled from soakage, forcing the panel to expand and bend, cracking the paint-work.
1245:
467:
has often been contested, but is generally thought to be by Cimabue based on stylistic traits and mentions by both
311:. His nakedness highlights his vulnerability and suffering. It seems influenced by a thirteenth-century Franciscan
280:
34:
1451:
1314:
1226:
1320:
166:
519:
260:
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Cimabue achieves a masterful handling of colour; medieval churches tended to be extremely colourful, with
201:
186:
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1201:
408:
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318:
131:
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since the late thirteenth century, and at the Museo dell'Opera Santa Croce since restoration following
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116:
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The crucifix measures 448 cm x 390 cm and consists of five basic physical components; a
349:("Suffering Christ") style: a saviour who shared the burden and pain of humanity. The Santa Croce
182:
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1138:
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452:
221:
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112:
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161:'s static pose is reflective of this style, while the work overall incorporates newer, more
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551:
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onto which Christ is nailed, two horizontal cross-arms, and two vertical pieces acting as
288:
1353:
468:
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135:
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and took large tracts of paint when it retreated. The water deposited oil, mud and
511:
283:, c. 1268–1271. This is the earlier of the two extant crucifixes attributed to him.
174:
126:, one of two large crucifixes attributed to him. The work was commissioned by the
555:
232:
217:
139:
127:
178:
264:
1104:
The Middle Ages: Dictionary of World Biography, Volume 2: Middle Ages Vol 2
977:
Italian Art, 1250–1550: The Relation of Renaissance Art to Life and Society
522:. During the event thousands of artworks were damaged or destroyed and the
295:
are placed at angles which rise outwards and above the level of the cross.
76:
448 cm Ă— 390 cm (176 in Ă— 150 in)
607:? I always think of that as a worm crawling down the cross." Sylvester, 14
954:
Brink, Joel. "Carpentry and Symmetry in Cimabue's Santa Croce Crucifix".
564:
436:
240:
236:
197:
134:
and is built from a complex arrangement of five main and eight ancillary
108:
88:
392:
378:
1217:
736:". Grove Art Online, Oxford University Press. Retrieved 30 October 2016
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480:
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244:
154:
123:
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The present state of the Crucifix, after flood damage and restoration.
1412:
1406:
617:
444:
304:
256:
120:
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and monumentality of the cross link it to the Byzantine tradition.
1076:
Sayonara, Michelangelo: The Sistine Chapel Restored and Repackaged
560:
537:
501:
317:
274:
1050:
The Grove Encyclopedia of Medieval Art and Architecture, Volume 2
515:
476:
216:
Both of Cimabue's surviving crucifixes were commissioned by the
1190:
1065:
Lives of the Most Excellent Painters, Sculptors, and Architects
361:
contortions forced upon a body nailed to a vertical support.
353:
is one of the earliest and best-known examples of the type.
1186:
146:
style and is renowned for its technical innovations and
620:
from 1948 to 1959 and is sometimes referred to as the
165:
aspects. The work presents a lifelike and physically
1092:. Volume I: A-K. New York; London: Routledge, 2003.
331:
Papal Basilica of Saint Mary of the Angels in Assisi
1385:
1330:
1289:
1254:
1233:
1175:. Oxford; New York: Oxford University Press, 2005.
307:work, may be influenced by earlier crucifixions by
80:
72:
64:
51:
41:
23:
594:The other is the Arezzo crucifix. See Chiellini, 8
1015:Key Figures in Medieval Europe: An Encyclopedia
231:probably hung, given its large size, above the
204:in 1966. It remains in poor condition despite
1202:
1045:". Grove Art Online, Oxford University Press.
8:
1360:Christ enthroned with the Virgin and St John
1209:
1195:
1187:
1029:1000 Paintings You Must See Before You Die
33:
20:
1052:. Oxford: Oxford University Press, 2012.
714:Larson, Kay. "Survival of the Greatest".
542:Rescuing the cross from the flood of 1966
1068:. Modern Library, 2007. ASIN: B000XU4UR6
728:
726:
724:
603:Bacon said: "You know the great Cimabue
963:The Uffizi: History of Italian Painting
903:
901:
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897:
860:
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830:
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235:. It was later positioned at the north
746:
744:
742:
710:
708:
706:
655:
653:
634:
632:
630:
1457:Paintings of the Crucifixion of Jesus
1031:. London: Cassell Illustrated, 2011.
687:
685:
683:
7:
1344:Nativity and Betrothal of the Virgin
1078:. Reading, MA: Addison-Wesley, 1990
1338:Basilica of Saint Francis of Assisi
979:. New York: Harper & Row, 1987
958:, Volume 120, No. 907, October 1978
98:Crucifix by Cimabue at Santa Croce
14:
1123:. Oxford: Clarendon Press, 1970.
483:that established his reputation.
1266:Virgin and Child with Two Angels
1154:. London: Pantheon Books, 1975.
951:, Volume 125, No. 963, June 1983
391:
377:
142:to break from the late medieval
28:, prior to the 1966 flood damage
1309:MaestĂ of Santa Maria dei Servi
1137:. London: Laurence King, 2005.
1133:Paoletti, John; Radke, Gary M.
1090:Medieval Italy: An Encyclopedia
1008:Cavalcaselle, Giovanni Battista
514:in 1966 when the banks of the
492:Giovanni Battista Cavalcaselle
435:reaching from the base to the
1:
1482:Paintings of John the Apostle
1152:Interviews with Francis Bacon
1088:Kleinhenz, Christopher (ed).
993:. London: Scala Books, 1988.
101:
55:
1472:Paintings of the Virgin Mary
1420:Cimabue's Celebrated Madonna
1121:The Oxford Companion to Art
1106:. London: Routledge, 1998.
1017:. London: Routledge, 2006.
498:1966 damage and restoration
1498:
1317:(attributed; c. 1283–1284)
1295:Virgin and Child Enthroned
1280:The Flagellation of Christ
965:. Cologne: Taschen, 2000.
520:burst and flooded Florence
329:, tempera on wood, 1240s.
1224:
192:The work has been in the
138:. It is one of the first
107:) is a very large wooden
32:
1315:Castelfiorentino Madonna
1168:, Volume 43, No. 1, 2004
1135:Art in Renaissance Italy
1062:Jacks, Philip (ed). In:
961:Cecchi, Alessandro. In:
882:Crowe; Cavalcaselle, 207
1423:(1853–1855 painting by
956:The Burlington Magazine
949:The Burlington Magazine
486:Rejecting these views,
247:on the southern flank.
194:Basilica di Santa Croce
85:Basilica di Santa Croce
68:Distemper on wood panel
1323:(c. 1290–1300, Uffizi)
1119:Osborne, Harold (ed).
563:and canvas to prevent
543:
507:
333:
284:
1467:Paintings in Florence
1273:The Mocking of Christ
541:
505:
321:
278:
24:Crucifix by Cimabue,
1462:Paintings by Cimabue
1403:(circle of Cimabue?)
1331:Frescoes and mosaics
1311:(1280–1285, Bologna)
1171:Viladesau, Richard.
1072:Januszczak, Waldemar
1004:Crowe, Joseph Archer
550:led by conservators
202:flooding of the Arno
115:, attributed to the
1370:Florence Baptistery
1257:Diptych of Devotion
1027:Farthing, Stephen.
1013:Emmerson, Richard.
989:Chiellini, Monica.
718:, 27 September 1982
572:Waldemar Januszczak
488:Joseph Archer Crowe
413:John the Evangelist
407:Representations of
399:John the Evangelist
340:Christus triumphans
265:gold leaf paintings
220:. Founded by Saint
16:Painting by Cimabue
1048:Hourihane, Colum.
934:Januszczak, 175-76
544:
508:
453:dynamic rectangles
334:
285:
171:passion at Calvary
167:imposing depiction
117:Florentine painter
1439:
1438:
1425:Frederic Leighton
1305:(c. 1280, Louvre)
1181:978-0-19-518811-0
1160:978-0-394-49763-1
1143:978-1-85669-439-1
1129:978-0-19-866107-8
1112:978-1-57958-041-4
1098:978-0-415-93930-0
1084:978-0-201-52395-9
1058:978-0-19-539536-5
1037:978-1-84403-704-9
1023:978-0-415-97385-4
999:978-0-935748-90-1
985:978-0-06-430162-6
971:978-3-8228-5999-5
222:Francis of Assisi
128:Franciscan friars
94:
93:
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1148:Sylvester, David
1041:Gibbs, Robert. "
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624:. See Cecchi, 65
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473:Nicolò Albertini
395:
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346:Christus patiens
289:closely rendered
218:Franciscan order
140:Italian artworks
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1227:List of works
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804:Chiellini, 11
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175:Michelangelo
163:naturalistic
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1241:Santa Croce
864:Magill, 272
822:Messina, 45
605:Crucifixion
556:pointillist
459:Attribution
271:Crucifixion
251:Description
243:and by the
233:rood screen
132:Santa Croce
105: 1265
59: 1265
26:Santa Croce
1446:Categories
1234:Crucifixes
925:Messina, 3
916:Messina, 6
907:Brink, 645
852:Brink, 651
843:Brink, 647
834:Brink, 646
759:Isaac, 2–3
668:Jacks, 492
578:References
546:A team of
409:the Virgin
385:The Virgin
313:Meditation
279:Cimabue's
212:Commission
179:Caravaggio
148:humanistic
73:Dimensions
1395:(master?)
548:restorers
427:Carpentry
301:loincloth
239:, in the
208:efforts.
183:Velázquez
144:Byzantine
121:mosaicist
113:distemper
1415:(pupil?)
716:New York
565:buckling
524:Crucifix
465:Crucifix
437:cymatium
351:Crucifix
327:Crucifix
261:capitals
257:frescoed
245:entrance
241:sacristy
237:transept
229:Crucifix
198:Florence
109:crucifix
89:Florence
81:Location
1409:(pupil)
1386:Related
1218:Cimabue
1043:Cimabue
991:Cimabue
941:Sources
734:Cimabue
533:naphtha
481:Tuscany
445:battens
418:gilding
169:of the
155:gilding
124:Cimabue
46:Cimabue
1413:Duccio
1407:Giotto
1291:MaestĂ
1246:Arezzo
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618:Uffizi
518:river
469:Vasari
441:aprons
369:Saints
305:Arezzo
293:nimbus
263:, and
159:Christ
65:Medium
42:Artist
1166:Gesta
583:Notes
561:gesso
1303:Pisa
1177:ISBN
1156:ISBN
1139:ISBN
1125:ISBN
1108:ISBN
1094:ISBN
1080:ISBN
1054:ISBN
1033:ISBN
1019:ISBN
995:ISBN
981:ISBN
967:ISBN
529:halo
516:Arno
490:and
477:Pisa
471:and
411:and
181:and
153:The
119:and
96:The
52:Year
1293:or
196:in
185:to
130:of
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325:,
189:.
177:,
102:c.
87:,
56:c.
1427:)
1210:e
1203:t
1196:v
100:(
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