Rubens Rendition; the Raising of the Cross
Peter Paul Rubens, The Raising of the Cross, 72.1 × 132.7 cm, made around 1638, oil on paper; later mounted on canvas.
Museums allow us to observe history and put into perspective time and space, transporting viewers into dimensions with just a gaze. Peter Paul Rubens, The Raising of the Cross, 72.1 × 132.7 cm, made around 1638, oil on paper; later mounted on canvas, sits proudly in the European Collection at the Art Gallery of Ontario. Hanging in The Wood Gallery, a large red room with similar European otherworldliness pieces, Rubens’ intricate drawing and painting of The Raising of the Cross demonstrate signs of naturalism, an understanding of the body and a keen eye for designo. The powerful depiction of man and the imagery devised from the imagination of Rubens shows his attention to central Renaissance themes. The emotion that was translated throughout this chaotic landscape captivated me. Standing in front of this Rubens piece, I felt myself at Golgotha, the alleged location of Jesus’ crucifixion. I kept returning to the piece as the painting felt tangible. I could not remove myself, standing there in awe and contemplation. There was an understanding of the time and dedication to the detail that made up this painting that kept me drawn in.
David Freedberg, Professor of the History of Art and Director of the Italian Academy for Advanced Studies at Columbia University, pulls apart the process of Rubens’ application giving the reader a preview into the inner workings of his mind. “Rubens himself painted in the final touches, adding highlights, enlivening the landscapes, improving the draperies, giving vitality to faces and bodies, and generally bestowing an air of energy and sparkle upon the final work.” (Freedberg, 9) The imagery in The Raising of Cross is intense, strong and captivating. Rubens’ interest in naturalism is present through his romanticized characters; the topless women in visible emotional pain, the naked children, the heroic male bodies, and the soldiers charging in from the right side of the canvas. As Vasari highlighted, “a more beautiful knowledge of muscles, better proportion, and more judgement” (Campbell and Cole, 248) encompasses the definition of naturalism. This was transmuted through the application of precise muscular anatomy and the proportion of the figures. Of German descent, Peter Paul Rubens completed schooling in Antwerp, studying the copies of Renaissance masters until his time among them in his early years. (The National Gallery) Rubens’ apparent interest in the human form is visible throughout the piece, as the workings of the figures layered upon one another show the skill in proportion.
There is also a fine skillfulness of foreshortening apparent as the entirety of the figures lean inward toward the center of the painting, as a group of muscular men hoists up Jesus on the cross in the center of the composition. “Foreshortening – a kind of local perspective, whereby the painter reduced the dimensions of a line of surface to give the impression that they projected toward the viewer – Vasari treats it both as a technical accomplishment and an advance in understanding.” (Campbell and Cole, 114) This visual tool draws the eye to the center of the painting, focusing on the pain in Jesus’ face, as there is a stark contrast between the surrounding landscape's dark components and the body's bright application.
There is a clear understanding of designo as emotion and character development are present throughout this passionate depiction of the crucifixion of Jesus. The conflict within this piece speaks to the battle, a spiritual warfare --the narrative of Christ that fed the foundation of the Renaissance, supporting the development of the Catholic faith. There is evidence of a strong underdrawing in The Raising of the Cross amid the precision and elaborate placement of the characters. “According to Reynolds, what made Rubens great was "the facility with which he invented, the richness of his composition, the luxuriant harmony and brilliance of his colouring, [which] so dazzle the eye, that whilst his works continue before us, we cannot help thinking that all his deficiencies are fully supplied." (Freedberg, 11) The scene’s drama is amplified by clouds forming with angels piercing through on the top right and an ominous town in the distance lurking in the shadows, a castle-like structure. Beneath the angels to the left, you see Mother Mary standing in the distance, draped in her classical blue dress. A sense of muted sadness is visible in her facial expression. Crowds hide in the background’s lower half, setting the stage for the crucifixion. The dog to the bottom left interests me, as the animal engages intently to the scene in the middle of the composition. This leads to questions I would be interested in looking deeper into, digging into the semiotic symbolism Rubens may have placed for the viewer to pick up on.
Rubens had spent time studying the Renaissance work of the masters that had come before, as there are influences of Michelangelo in the anatomical components, specifically of the heroic athletic male body. “This drawing is often considered the best surviving record of Leonardo’s original painting, although it must be a copy of a copy, since Leonardo’s work was no longer viewable at the time Rubens arrived in Florence.” (Campbell and Cole, 352) Evidence shows that Rubens was significantly influenced by Michelangelo and Da Vinci, as copies of drawings were made as a form of practice.
When listening to the audio attached to this painting provided by the AGO, we learn that this painting was stolen not once but twice. This led to the piece’s restoration, which was attributed to extra colour added in the process that was not necessarily present in the original. Then led to a revised restoration process, removing what was not a part of the original. Making the application of the painting itself hard to decipher what was Rubens and what was restoration. I find it interesting that this painting was completed two years before Rubens’s death, which makes me wonder if there is some personal emotion infused in this horrific, passionate scene – a way to transmute the internal pain he felt from his battle with severe gout.
Freedberg, David, and Peter Paul Rubens. Peter Paul Rubens: Oil Paintings and Oil Sketches. New York, NY: Gagosian Gallery, 1995.
Stephen J. Campbell and Michael W. Cole, Italian Renaissance Art. Second Edition, Volume 1 and 2, New York: Thames and Hudson, 2012 (ISBN: 9780500293324–8).
The National Gallery, London. “Peter Paul Rubens.” Peter Paul Rubens (1577 - 1640) | National Gallery, London. Accessed November 3, 2022. https://www.nationalgallery.org.uk/artists/peter-paul-rubens.
