← Polidoro da Caravaggio

Design for a Crucifix with the Virgin Mary, Saint Mary Magdalen, and Saint John

Original title: Design for a Crucifix with the Virgin Mary, Saint Mary Magdalen, and Saint John

Artist

Polidoro da Caravaggio

Date

n.d.

Medium

Pen and brown ink, brush and brown wash, over traces of black chalk

Dimensions

15 7/8 x 9 5/16 in. (40.3 x 23.6 cm)

Credit line

Harry G. Sperling Fund, 2003

kurzbeschreibung

Polidoro da Caravaggio left this design for a crucifix, surrounded by the Virgin Mary, Saint Mary Magdalene and Saint John. The sheet is executed in pen and brown ink, with brush and brown wash over traces of black chalk. A preparatory study for a crucifix, its dating remains open.

Description

A large, richly ornamented crucifix with Christ hanging from it forms the center of the layout. Below stand three figures: on the left the Virgin Mary with raised arms, in the middle a kneeling figure who may be Mary Magdalene, and on the right Saint John. All wear traditional garments and show a devout attitude. Muted brown and gray tones dominate the sheet, with a hint of black chalk over them. The line weight varies, reflecting the interplay of pen and brush.

Context

Polidoro da Caravaggio, an Italian Renaissance painter, was known above all for frescoes and drawings. A pupil of Raphael, he worked in Rome and produced numerous façade decorations there. This sheet was presumably made in the early 16th century, during a phase of lively religious art production. The motif of the crucifix with attendant figures was widespread in Italian art at the time and often used as a devotional image or altarpiece.

Impact

The symmetrical arrangement conveys calm and draws the eye to the crucifix at the center. Through the varying line weights and the wash, the sketch gains a lively, animated quality. The muted palette creates a serious, contemplative mood suited to the religious subject.

Technique

Pen and brown ink form the basis; they are supplemented by brown wash applied with a brush. Contours were drawn over traces of black chalk and then washed to obtain shading. This procedure was typical for Renaissance designs and studies, as it allowed quick and precise sketches.

AI-generated description text

Source: Metropolitan Museum of Art · Public Domain (CC0 1.0)