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Descent from the Cross
Allori, Alessandro
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Allori, Alessandro

Florencia, 1535 - Florencia, 1607

Descent from the Cross

Ca. 1550. Oil on copperplate, 70 x 54 cm.

Christ´s dead body is taken off the Cross by Joseph of Arimathea, Nicodemus and Saint John the Evangelist. Among the people at his feet are the Virgin Mary, the mother of Joseph —also called Mary— as well as Salomé and Mary Magdalene, who raises her arms as a sign of her suffering. The good and bad thieves are crucified on trees. This scene follows the New Testament story of the Jesus´ descent from the Cross (Matthew 28, 57-59; Mark 15, 42-47; Luke 23, 50-55 and John 19, 38-42). Identified with a work painted by Alamanno Salviati based on drawings by Baccio Bandinelli, The Descent from the Cross is a complex composition peopled by characters —some unrelated to the Bible story— in which Allori demonstrates the mastery of anatomy and scorcio he acquired in Rome. After studying with Bronzino in Florence, Allori moved to Rome in 1554. He remained there until 1560, assimilating the style of Michelangelo, Raphael and the mannerists of the following generation.

Technical data

Inventory number
P00511
Author
Allori, Alessandro
Title
Descent from the Cross
Date
Ca. 1550
Technique
Oil
Support
Copperplate
Dimension
High/Height: 70 cm.; Width: 54 cm.
Provenance
Royal Collection (Real Monasterio de San Lorenzo, El Escorial-Madrid, pieza del oratorio inmediato a la antecámara de la Celda Prioral, 1839)

Bibliography +

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1972.

Rafols, J.F., Diccionario de artistas de Cataluña, Valencia y Baleares, Edicions Catalanes. Gran Enciclopedia Vasca, Barcelona.Bilbao, 1980, pp. 1230.

Borsi, Franco, Il potere e lo spazio: la scena del principe, Electa editrice, Florencia.Milan, 1980, pp. 287.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 7-8.

Història de l'Art Catalá, Edicions 62, Barcelona, 1986, pp. 186.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, Museo del Prado, Espasa Calpe, Madrid, 1990.

Lecchini Giovannoni, S., Alessandro Allori, Umberto Allemandi & C., Turin, 1991, pp. 231/lám. 72.

Museo Nacional del Prado, Pintura italiana del Renacimiento: guía, Museo del Prado Aldeasa, Madrid, 1999, pp. 102.

Costamagna, Philippe, La collection des peintures d'une famille florentine établie à Rome. L'Inventarie après décès du Duc Anton Maria Salviati dressé en 1704', Nuovi studi, Anno V n.8, 2000, pp. 177-233 [183 nt.66].

From Raphael to Carracci : the art of Papal Rome, National Gallery of Canada, 2009, pp. 302-303.

Maurer, G., Goya: lo bello y lo recóndito. En: La belleza encerrada: de Fra Angelico a Fortuny, Museo Nacional del Prado, Madrid, 2013, pp. 135.

Mena Marqués, M.; Albarrán, V., La belleza encerrada: de Fra Angelico a Fortuny, folleto, Museo Nacional del Prado, Madrid, 2013, pp. 20 n.69.

Other inventories +

Catálogo Museo del Prado, 1854-1858. Núm. 461.

Inv. Real Museo, 1857. Núm. 461.
Daniel de Volterra (Daniel Ricciarelli, llamado) / 461. El calvario. / Representa el acto de desclavar de la cruz á nuestro señor Jesucristo, y á los dos ladrones, en medio de un inmenso gentio dividido en grupos. Las Marias y San Juan al pie de la cruz del Salvador. (E.) (cobre) / La composicion y el dibujo son indudablemente de Daniel de Volterra, pero se duda que esté pintado por el mismo. / Alto 2 pies, 6 pulg; ancho 1 pie, 11 pulg.

Catálogo Museo del Prado, 1872-1907. Núm. 559.

Catálogo Museo del Prado, 1910. Núm. 511.

Catálogo Museo del Prado, 1942-1996. Núm. 511.

Exhibitions +

Captive Beauty. Fra Angelico to Fortuny
Madrid
21.05.2013 - 10.11.2013

Location +

Room 049 (On Display)

Expuesto
Update date: 12-11-2016 | Registry created on 28-04-2015

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