{"id":12941,"date":"2018-03-29T11:11:19","date_gmt":"2018-03-26T13:24:28","guid":{"rendered":"http:\/\/blog.museunacional.cat\/?p=12941"},"modified":"2020-03-03T10:00:17","modified_gmt":"2020-03-03T10:00:17","slug":"holy-week-scenes-in-the-renaissance-and-baroque-collection","status":"publish","type":"post","link":"https:\/\/blog.museunacional.cat\/en\/holy-week-scenes-in-the-renaissance-and-baroque-collection\/","title":{"rendered":"Holy Week scenes in the Renaissance and Baroque collection"},"content":{"rendered":"

In Holy Week we invite you to come and visit the scenes of the Passion and the death of Christ in works in the museum\u2019s Renaissance and Baroque collection, some of which can be seen in the new display.<\/a><\/p>\n

From Jesus\u2019 Entry into Jerusalem to the Flagellation of Christ<\/h3>\n

According to the gospels, Jesus, followed by the Apostles, came down from Bethany to Jerusalem sitting on a donkey, and the people of the city came out to meet him singing.<\/p>\n

When Jesus entered the temple in Jerusalem, he was annoyed by the merchants and money-changers who were everywhere, profaning the sanctuary. It is the scene known as the The Expulsion of the Money-changers from the Temple<\/strong> painted by Tiepolo in the following work:<\/p>\n

\"Giandomenico<\/a>

Giandomenico Tiepolo,\u00a0Expulsion of the Money-changers from the Temple<\/a>,<\/em> 1750-1753<\/p><\/div>\n

The action is depicted in a very theatrical way, through the gestures and the expressions of the figures, as well as numerous details. Colour plays an important part in it because the shade and the use of contrast creates illusionistic effects.<\/p>\n

The Last Supper.<\/strong> It is the last meal that Christ ate with the 12 apostles before Judas betrayed him. This alabaster carving comes from the Carthusian priory of Escaladei (La Morera de Montsant, Priorat):<\/p>\n

\"Isidre<\/a>

Isidre Espinalt, The Last Supper<\/a><\/em>, 1695<\/p><\/div>\n

The Washing of the Feet. <\/strong>In the Middle East it was the custom to wash the guests\u2019 feet before serving a meal. Jesus wished to teach his disciples a lesson in humility, voluntarily performing a task that was normally done by slaves.<\/p>\n

\"Pere<\/a>

Pere Pau Monta\u00f1a Llanas, The Washing of the Feet<\/a><\/em>, 1780. Work not on display<\/p><\/div>\n

Jesus Praying in the Garden of Gethsemane.\u00a0<\/strong>The capture (arrest) has, as a prelude, Jesus\u2019 prayer on the Mount of Olives, in Gethsemane.<\/strong><\/p>\n

\"Ramon<\/a>

Ramon Amadeu, Jesus Praying in the Garden of Gethsemane<\/a><\/em>, around 1809-1821<\/p><\/div>\n

Ramon Amadeu<\/a>\u00a0was a late 18th<\/sup>-century sculptor well known for his Nativity scene figurines. Jesus praying in the Garden of Gethsemane is a figure that resembles his Nativity scene figurines.<\/p>\n

Judas\u2019 Betrayal and the Arrest of Jesus.\u00a0<\/strong>Judas kisses Jesus, a gesture that enables the armed guards charged with arresting Christ to identify him, an act agreed upon to avoid any mistakes. After betraying Jesus, we see the episode of the remorse and despair of Judas, who commits suicide by hanging himself from a fig tree.<\/p>\n

\"Anonymous.<\/a>

Anonymous, Judas Hanging from A Fig Tree<\/em>, 1579? Not on display<\/p><\/div>\n

This work has a peculiar story behind it. It is of the apostle Judas Iscariot, who hanged himself from a fig tree. Upon hanging himself, his belly opened, and his black entrails and filthy soul spilled out (it did not issue from his mouth, as he had kissed Christ). The work entered the museum in 1932 as a part of the frontal from Santa Maria in Ta\u00fcll, from the lower right-hand compartment. However, photographs exist of when this work was discovered, in the early 20th<\/sup> century, in which Judas does not appear. The small figure of Judas must have been a complement placed during the restoration work done by Arturo Cividini in 1924, before selling the frontal to Mr Plandiura. Judas did not stay on the frontal for long, as he was removed in restoration work done in 1943.<\/p>\n

The Interrogation. <\/strong>In actual fact there are two interrogations of Jesus Christ, the Jewish one and the Roman one, or, in other words, the religious one and the political one. Jesus appears before two jurisdictions: that of the high priest (Jesus before Caiaphas) and that of the Roman procurator (Jesus before Pilate).<\/p>\n

Then comes the scene of the<\/strong> flagellation of Christ,<\/strong> tied to a column, which was not designed to torment Christ; Pilate thought that by doing this he would placate the people\u2019s anger and save him. This scene has been widely reproduced in art.<\/p>\n

\"Anonymous.<\/a>

Anonymous,\u00a0The Flagellation of Christ<\/em>,<\/a> 1585<\/p><\/div>\n

The Crown of Thorns<\/strong> is an instrument of torture and a sign of ridicule; Christ is not treated as a false God but as a Carnival king. Finally, Pilate presents Jesus before the multitude that have gathered in front of the Praetorium, saying (John 19: 4): Behold the Man<\/em> (Ecce Homo).<\/p>\n\n\n\n
\n

\n

\n

\"Manuel<\/a>

Manuel Pereira, Ecce Homo<\/a><\/em>, 1635-1650<\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

In Morales\u2019 Ecce Homo<\/a><\/em>, Christ is shown in the solitude of the moment when he is condemned to death before the multitude at the Praetorium. Morales\u2019 Ecce Homos<\/em> were very popular, and proof of that are the multiple versions that are known of it, whether by the artist himself, by his workshop, or copies.<\/p>\n

The Crucifixion<\/h3>\n

Why was Christ sentenced to be crucified? As a blasphemer he had to endure the Jewish punishment of stoning, like Saint Stephen. A Roman citizen, like Saint Paul, had to be beheaded with a sword. But as he was neither one thing nor the other, he suffered a punishment that was reserved for slaves who had run away or rebelled against their master: crucifixion.<\/p>\n\n\n\n
\n

\n

\n

\"Circle<\/a>

Circle of Albrecht Bouts,\u00a0The Holy Countenance<\/a><\/em>, around 1500<\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

In The Way to Calvary<\/a>\u00a0<\/em>by Hans van Wechelen it is difficult to pick out the figure of Jesus Christ in the crowd. It is a 16th<\/sup>-century Flemish painting, a very detailed work that highlights the landscape and the details<\/p>\n

El Greco\u2019s Christ Carrying the Cross<\/a><\/em>\u00a0allows us to admire the painter\u2019s characteristic brushwork, with which he models the volumes with the colour and distorts the bodies to reflect the figures\u2019 spiritual unease. The cross that Christ carries symbolizes his triumph over death and not an instrument of martyrdom. The face does not reflect pain, but serenity and a gaze trusting in eternal life.<\/p>\n

\"Giambatistta<\/a>

Giambatistta Tiepolo, Christ on the Way to Golgotha<\/a><\/em>, after 1738<\/p><\/div>\n

The image of Christ dead on the cross is the emblem and the guarantee of salvation, the central theme of Christianity. Images of the Crucifixion:<\/strong><\/p>\n\n\n\n
\n

\n

\"An\u00f2nim,<\/a>

Anonymous, Calvary<\/a><\/em>, around 1520<\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

This is one of the many crucifixion scenes by Zurbar\u00e1n<\/a> focusing on the presence of Christ nailed to the cross with four nails, an iconographical theme that the guardians of the Inquisition in Seville established in this way (led by Francisco Pacheco<\/a>). The figure is very naturalistic and is achieved through the dramatic use of the light.<\/p>\n

The Lamentation of Christ<\/h3>\n

Under this general title four scenes are grouped together: the descent from the cross, the deposition, the lamentation and the burial<\/p>\n

\"Marcellus<\/a>

Marcellus Coffermans, Descent from the Cross<\/a><\/em>, Third quarter of the 16th<\/sup> century<\/p><\/div>\n

Coffermans\u2019 Descent from the Cross<\/a><\/em>\u00a0still follows the Flemish painting tradition of the great 15th<\/sup>-century masters.<\/p>\n

\"Paolo<\/a>

Paolo da San Leocadio, Mourning Over the Dead Christ<\/a><\/em>, around 1507<\/p><\/div>\n

Paolo da San Leocadio is an Italian painter who came to Valencia with the entourage of the man who was then still Roderic de Borja (Rodrigo Borgia), the future Pope Alexander VI. He established himself there and was a point of reference for the new generations like, among others, Joan de Joanes and Vicen\u00e7 Massip.<\/p>\n

Burial<\/strong>. Joseph of Arimathea, whom Pilate had granted permission to remove the body of Christ, wrapped it in a shroud and placed it in a sepulchre that he had had dug out of a rock, in the rock of Golgotha. He then covered the entrance with a stone<\/p>\n

The Resurrection<\/h3>\n

It is one of the most important dogmas of the Christian religion. Faith in a god that dies and is brought back to life is not exclusive to or specifically Christian. It is a universal belief that we find in the majority of ancient religions (the Egyptians, in the worship of Osiris; the Syrians, in the worship of Adonis). It seems to have been inspired by the changing of the seasons, the rebirth of vegetation after the death of winter; Christian Easter also coincides with the reawakening of spring.<\/p>\n\n\n\n
\n

\n

\"Francisco<\/a>

Francisco Camilo, The Ascension<\/a><\/em>, around 1651<\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

The Resurrection<\/a><\/em> is one of the four surviving compartments of an altarpiece dedicated to Christ, by Bartolom\u00e9 Bermejo,<\/a> a painter from Cordoba who did his best-known work in the Crown of Aragon. Bermejo\u2019s work, characterized by realism free of idealizations, incorporates some new ideas from northern European painting, like the use of oil as an agglutinant, replacing egg tempera. In this compartment, Christ emerges from the sepulchre before the adoring gaze of an angel, while the soldiers watching over the tomb are terrified by the miracle. In the background we see the three Marys, who have left Jerusalem and are walking towards the sepulchre with jars of perfume to anoint the body of Christ.<\/p>\n

The Ascension<\/a><\/em>, a work signed and dated by Francisco Camilo, shows the eclecticism of painting in Madrid in the mid 17th<\/sup> century, in which we find a combination of the effectism of triumphant Baroque and some influences from Venetian painting, which the painter must have seen in the royal collection.<\/p>\n

\"Martin<\/a>

Martin Bernat, Processional cross with the bust of Christ and the Arma Christi<\/a><\/em>, 1477-1505<\/p><\/div>\n

This processional cross, attributed to Martin Bernat, which is in the Gothic art collection, but is chronologically on the threshold of 1500, includes many of the scenes from the Passion of Christ.<\/p>\n

On one hand, the bust of Christ crowned with thorns appears, and his bloody hands and feet due to the nails of the crucifixion, symbols of the messiah. On the other, the instruments of the Passion: the cockerel of Peter\u2019s denial, the column of the flagellation and two scourges, Longinus\u2019 lance, the rod with the sponge and the jug of vinegar, the lantern of Christ\u2019s arrest, the dice with which the soldiers played for Christ\u2019s clothes, the cohort\u2019s trumpet, the pincers and the hammer. On the knife with which Saint Peter cut off Malchus\u2019 ear, notice the clover that appears on the leaf, the mark of the blacksmiths\u2019 guild, and also an element associated with the Trinity.<\/p>\n

Happy Easter!\u00a0<\/strong><\/h4>\n

Related links<\/h3>\n

New display of Renaissance and Baroque<\/a><\/p>\n

Opening of the new Renaissance and Baroque galleries!<\/a><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

In Holy Week we invite you to come and visit the scenes of the Passion and the death of Christ in works in the museum\u2019s Renaissance and Baroque collection, some of which can be seen in the new display. From Jesus\u2019 Entry into Jerusalem to the Flagellation of Christ According to the gospels, Jesus, followed…<\/p>\n","protected":false},"author":21,"featured_media":12904,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[15,1],"tags":[855,1287,1290,803],"class_list":["post-12941","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-collection","category-general","tag-baroque","tag-jesus-christ","tag-passion","tag-renaissance","author-redacciomuseu"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/009784-000_090223.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-3mJ","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/12941","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/21"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=12941"}],"version-history":[{"count":8,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/12941\/revisions"}],"predecessor-version":[{"id":19486,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/12941\/revisions\/19486"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/12904"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=12941"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=12941"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=12941"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}