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The Crowning with Thorns (The Flagellation)
Correa de Vivar, Juan
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Correa de Vivar, Juan

Mascaraque (Toledo, Spain), 1510 - Toledo (Spain), 1566

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The Crowning with Thorns (The Flagellation)

1540 - 1545. Oil on panel.
On display elsewhere

Among the commissions that Correa carried out for the former monastery of the Bernardine fathers at Santa María la Real de Valdeiglesias (Pelayos de la Presa, Madrid) is a group of three panels with scenes from the Passion of Christ. Their representations in circular compositions and many stylistic similarities indicate that they belonged to the same set. These three panels depict three successive stories: Pilate washing his Hands, The Crowning with Thorns (P00669) and an Ecce Homo (P670).

The episode depicted on this panel mainly follows the narratives of the canonical Gospels, but it is also recorded in the apocryphal Gospels. In the interior of the praetorium, of which only a pillar and an arch can be seen in the background, Christ is seated on a throne-like bench. He has his hands tied and he is stripped of his clothes. His naked torso is partially covered by the cloak that was intended to ridicule him as a king. However, on this occasion, the cloak is green rather than purple, as would be the case according to the Gospel accounts. Christ possesses the same demeanour as in the previous panel but, on this occasion, he is looking directly at the viewer in order to elicit devotion and piety. Jesus forms the compositional axis around which three executioners are arranged. Two of them, with sadistic expressions, rebuke him and nail the crown of thorns on him with the crossed reeds they hold in their hands. One of them is wearing an ochre breastplate. Meanwhile, the other, with his knee resting on the bench, is wearing a white shirt, green doublet and cut red tights in the style of Correa’s time. In the foreground, another executioner, without his hat, kneels before Christ in a mocking manner and strikes him with the reed he has been given as a sceptre. Except for the figure of Christ, the clothing worn generally sticks to the fashion from 1500–1550. The Crowning with Thorns of San Martín de Valdeiglesias recalls the panel with the same theme that is attributed to Juan de Borgoña and his workshop.

This work was a seasonal altarpiece in the cloister of the now disappeared convent of San Juan de la Penitencia in Toledo; however, in this painting, there are more figures.

Cortés, Susana Ocaña, Estrella, 'Juan Correa de Vivar. Coronación de espinas' En:. Juan Correa de Vivar, c. 1510-1566 : maestro del Renacimiento español., Toledo, Sociedad Don Quijote de Conmemoraciones culturales de Castilla la Mancha, 2010, p.122-125 n.12


Technical data

Related artworks

Pilate washing his Hands
Tempera grassa on pine panel, 1540 - 1545
Correa de Vivar, Juan
Ecce Homo
Oil on panel, Second third of the XVI century
Correa de Vivar, Juan
Inventory number
Correa de Vivar, Juan
The Crowning with Thorns (The Flagellation)
1540 - 1545
Diameter: 90 cm
Cistercian monastery of Santa María la Real de Valdeiglesias, Pelayos de la Presa (Madrid); Museo de la Trinidad.

Bibliography +

Cruzada Villaamil, Gregorio, Catálogo provisional, historial y razonado del Museo Nacional de Pinturas, Madrid, 1865, pp. 190.

El Toledo de Domyco Theotocopuly: El Greco, Ministerio de Cultura, Dirección General de Bellas, Madrid, 1982, pp. 113.

Mateo Gómez, Isabel, Juan Correa de Vivar, C.S.I.C., Instituto Diego Velázquez, Madrid, 1983, pp. 55.

Espinós, A.; Orihuela, M. y Royo Villanova, M. [et al.], ''El Prado disperso''. Cuadros depositados en Toledo y Ávila. Toledo. Museo de Santa Cruz, Boletín del Museo del Prado, V, 1984, pp. 67.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas (II). Museo de la Trinidad, Museo del Prado, Espasa Calpe, Madrid, 1991, pp. 278.

Carlos V: las armas y las letras, Sociedad Estatal para la Commemoración de los cent, Madrid, 2000, pp. nº160.

Cortés, Susana Ocaña, Estrella, 'Juan Correa de Vivar. Coronación de espinas' En:, Juan Correa de Vivar, c. 1510-1566 : maestro del Renacimiento español., Sociedad Don Quijote de Conmemoraciones culturales de Castilla la Mancha, Toledo, 2010, pp. 122-125 n.12.

García, Mª.C. Martínez, F., El Museo de la Trinidad: El taller de restauración y sus profesionales, Boletín del Museo del Prado, XXXIII, 2015, pp. 112-131 [118 f.3].

Other inventories +

Catálogo Museo del Prado, 1972. Núm. 669.

Catálogo Museo del Prado, 1873-1907. Núm. 2152.

Catálogo Museo de la Trinidad, 1865. Núm. 908.
PRIMITIVAS ESCUELAS ESPAÑOLAS / D. CORREA [...] 908. Ecce homo. / Tabla circular. - Diámetro 0,915. - Fig. c. e. / D. Correa. / Nuestro Señor Jesucristo sentado en un banco con las manos atadas, mientras dos sayones le colocan la corona de espinas, y otro le presenta una caña. Esta tabla y las marcadas con los núms. 912, 920, 921, 937, 938 pertenecieron al convento de Padres Bernardos de S. Martin de Valdeiglesias.

Catálogo Museo del Prado, 1910. Núm. 669.

Inv. Museo de la Trinidad, Pintura. Núm. 908.
908. / Tabla circular. El exceomo, en q.e se ve en primer término una fig. en busto presentandole una caña y otros dos sayones, con unos palos apretandole la corona de espinas fig.s la mitad del natural y casi de cuerpo entº / autor / alto 0,89 ancho 0,90 / embarrotado y y con moldura lisa y en / Nº 116 /G.P.

Inscriptions +

Inscribed in blue. Front, lower central area

Exhibitions +

Quinto centenario del nacimiento del pintor Juan Correa de Vivar
16.12.2010 - 13.03.2011

Location +

Toledo - Museo de Santa Cruz (Deposit)

Displayed objects +

Objects from Christ's Passion

Update date: 12-07-2022 | Registry created on 28-04-2015

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