Pedro Orrente's The Crucifixion

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In the mid to late 15th century in Europe, a period known as the Renaissance flowered during times of great political and social turmoil and various cities, such as Florence and Venice in Italy became the centers of humanistic philosophy which was highly influenced by classical forms and motifs dating back to the ancient Greeks and Romans. Artistically, the Renaissance created an entirely new way to express human emotions and ideals via architecture, sculpture and especially painting. Historically, the painters of the Renaissance, such as Leonardo Da Vinci, Michelangelo, Brunelleschi and many others, were forced to fully evaluate not only the achievements of their numerous predecessors but also the new scientific theories of the time related …show more content…
Ironically, the term was first used contemptuously by critics to describe architecture and paintings that failed to meet their standards of beauty. Baroque art is an "intense movement of explosive energy." It is a powerful, awe inspiring, resplendent style that is full of flamboyant concepts and an overall dramatic quality. One painting that caught my attention was the “The Crucifixion”. Pedro Orrente (Spanish, Murcia 1580–1645 Valencia) was the artist who created this painting. Pedro Orrente spent time in Venice and Rome. In the picture Christ, has called out from the cross to God, and a bystander has “fetched a sponge, which he soaked in sour wine, and held it to his lips on the end of a cane.” Saint John stands below the cross as the Virgin Mary and two companions arrive, mourning, while three soldiers at left gamble for Christ's tunic. The figure on the ladder is a particularly brilliant narrative interpolation. Christ is shown crucified between two thieves on the hill of Golgotha, outside Jerusalem, which is seen in the distance. A man has climbed a ladder and turns back to dip a sponge at the end of a pole into a bowl of vinegar to give Christ to drink. In the lower left three men—two are clearly identifiable by their attire as soldiers—throw dice for Christ’s garment. The standing figure beneath Christ’s cross is Saint John—the "beloved disciple"—while his mother and the holy women, their covered heads bowed, can be seen climbing the hill at the right. A dog—a typical feature of Bassano’s work—rests nonchalantly in the

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