Universitätsbibliothek HeidelbergUniversitätsbibliothek Heidelberg
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Smith, John
A catalogue raisonné of the works of the most eminent Dutch, Flemish, and French painters: in which is included a short biographical notice of the artists, with a copious description of their principal pictures : a statement of the prices at which such pictures have been sold at public sales on the continent and in England; a reference the the galleries and private collections in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools (Part 3) — London: Smith and Son, 1831

DOI chapter:
The Works of Anthony Van Dyck
DOI Page / Citation link:
https://doi.org/10.11588/diglit.62914#0041
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THE

WORKS
OF
ANTHONY VAN DYCK.

1. The Crucifixion of the Saviour between the two Thieves.
The awful event is represented as accomplished; the Saviour
has bowed his head, and yielded up the ghost; and the two
malefactors have undergone the severe sentence of the law. The
sun is veiled, a portentous gloom obscures the heavens, and
sombre twilight prevails over the earth. On the right is seen
the sorrowing Virgin, clothed in ample robes of dark blue and
black; her gesture and wan countenance strongly depict the
agony of her mind. Close behind her stands the favourite
disciple of Jesus; and near him is Mary, the mother of James
and Joses ; while the affectionate Magdalen, her eyes streaming
with tears, is bending beneath the cross, embracing the feet of
her Lord. In the opposite side is a horse-soldier, who appears
to be deeply affected by these supernatural appearances; he is
leaning both hands on the pommel of the saddle, and looking
fixedly at the Saviour. On his left stands one of the execu-
tioners, with an instrument of punishment in one hand, the
other he extends in derision. Two spectators, equally insen-
sible, are on the farther side of the cross.
It is impossible to contemplate this surprising work of art
without being deeply affected by the important event it records:
unlike the effect of the same subject by Rubens, it does not
harrow up the feelings by a representation of the agonizing
vol. hi. B
 
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