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This scene depicts the moment just prior to Christ’s flagellation when his hands are tied behind his back, revealing his finely painted body. The most restrained of Crespi’s depictions of this episode, it is devoid of the Caravaggesque influence evident in his earlier versions. Philip IV acquired the canvas from the heirs of the Genoese Marquis Giovan Francesco Serra who died in 1656.
Pieta, 1626, was acquired by Charles II in 1689 at the auction of Gaspar de Haro y Guzmán, seventh Marquis of Carpio, who was the Spanish King’s ambassador to Rome and subsequently his viceroy in Naples. In Italy, de Haro patronised numerous artists, becoming the leading private Spanish collector in the second half of the seventeenth century. After the King acquired this work, it was sent t
El dibujo presenta la escena de la Asunción de la Magdalena. En la composición de la obra la figura, en el centro, asciende sostenida por cuatro angelitos. Atribuido de antiguo al artista, es quizá aceptable la identificación tradicional con Crespi, dado el carácter lombardo del dibujo. No se relaciona, sin embargo, con ninguna de las obras conocidas del pintor (Texto extractado de Mena Marqués, M
