large oblong plate

The Three Crosses, 1655

Not on Viewexpand_more

Rembrandt's grand interpretation of the Crucifixion probably developed in tandem with his Christ Presented to the People. It started out as an operatic extravaganza performed in a radiating cone of light (see illustration). Rembrandt's revision of the Crucifixion scene was even more radical than his obliteration of the crowd in the judgment scene.

He changed many details of the image. The horse in the earlier version has been reversed and received a rider in this later one. The centurion no longer looks up at Christ; instead, he bows his head in remorse. But most dramatically, Rembrandt took his etching needle firmly in hand to lacerate the printing plate, throwing the scene into chaos and darkness. He had never executed anything like this before or after. In fact, nothing would truly compare until the advent of expressionist art in the 20th century.

Details
Title
The Three Crosses
Artist Life
1606–1669
Role
Artist
Accession Number
P.12,614
Provenance
black stamp verso (twice), J. MacGowan (L.1496); brown stamp verso (twice), J. Peoli (L. 2020); brown stamp verso J. Peoli (L. 1481); black stamp verso, A. Firmin-Didot (L. 119); black stamp verso André-Jean Hachette (L. 132)
Catalogue Raisonne
H. 270 iv/v; B. 78; Mz. 223 iv/v; Holl. 78 iv/v; B-B. 53-A iv/v
Curator Approved

This record has been reviewed by our curatorial staff but may be incomplete. These records are frequently revised and enhanced. If you notice a mistake or have additional information about this object, please email collectionsdata@artsmia.org.

Does something look wrong with this image? Let us know

large oblong plate