Play 32, PROCESSION TO CALVARY; CRUCIFIXION: FOOTNOTES 1 Here is Jesus the Nazarene, King of the Jews (compare Matthew 27:37, Luke 23:38, John 19:19) 2 My God, my God, why hast thou forsaken me? (compare Matthew 27:46) 3 Into your hands, O Lord I commend my spirit (compare Luke 23:46) 4 Now it is consummated (compare John 19:30) 5 Here, she falls to the ground as if dead, and John says. The Procession to Calvary is a much beloved painting that depicts Christ, who is seen carrying the Holy Cross amid a picturesque and vast landscape. This iconic work of art now resides in Vienna at the Kunsthistorisches Museum.

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Contents.History and description This is the second-largest known painting by Bruegel. It is one of sixteen paintings by him which are listed in the inventory of the wealthy collector, drawn up in 1566. It was Jonghelinck who commissioned the Months from Bruegel and he may also have commissioned this work. Jonghelinck's Bruegels passed into the possession of the city of in the year in which the inventory was made. In 1604 it was recorded in the collections of, then transferred to, and in 1809 (until 1815) in, requisitioned by as part of his.For Bruegel the composition is unusually traditional. Perhaps because he was treating such a solemn religious event, he adopted a well-known scheme, used previously by the and Bruegel's Antwerp contemporary,. Christ's insignificance among the crowds is a familiar device of painting (it recurs in the Preaching of John the Baptist, as well as ), as is the artificial placing of Mary and her companions in a rocky foreground, which is deliberately distanced from the dramatic events taking place behind them. Bricks of egypt game online.

Detail 1 from top leftBruegel's treatment of evolves in the course of his career from the bird's-eye views and extensive landscapes of the Large landscape series to the remarkable naturalism of the Months. Impossibly sheer outcrops of rock like this one at left characterize the landscape tradition of the founded. Patinir's followers - in particular, (the brother of Bruegel's print publisher, ) and - had turned his style into a popular but stale formula. The sequence of Bruegel's landscape drawings and of the landscape in his paintings shows the gradual abandonment of this formula. In this case, however, his desire to convey the rocky, unfamiliar terrain of the causes him to fall back on the ready-made landscape features of the.

Detail 2 from centre rightIn a detail such as this at right, Bruegel's painting possesses a vividness which would seem to come from his observation of contemporary life. Public executions were a familiar feature of 16th century life, especially in troubled. Here Bruegel shows the two thieves who were to hang on either side of Christ being trundled to the place of execution. Anachronistically, both clutch crucifixes and are making their final confessions to the cowled priests beside them. The thieves, their confessors and the ghoulish spectators who surround the cart are all in contemporary dress.

In Bruegel's day public executions were well attended occasions which had the air of festivals or carnivals. Here Bruegel shows the absolute indifference of the gawping crowds to the fear and misery of the condemned men. (Elsewhere in the picture he shows the pickpockets and the pedlars who preyed upon the crowds at such events.) It is noteworthy that Bruegel makes no distinction between the two thieves, one of whom Christ was to bless.

Detail 3 from right marginOn the mount of Golgotha (literally, 'place of skulls') the two crosses which are to bear the bodies of the thieves have been erected and a hole is being dug for the cross which is to bear Christ's body, as may be seen in the detail at left. Empire defense ii series 1. Onlookers on foot and on horseback flock towards this gruesome spot through a landscape dotted with gallows on which corpses still hang and wheels to which fragments of cloth and remnants of broken bodies not eaten by the ravens still cling. Detail 4 from bottom rightWith the exception of Christ himself, the figures in the procession wear contemporary dress, and there can be no doubts that Bruegel meant his representation of the scene to have a particular reference to his own day. The sacred figures - the assisted by and the other two Maries (only one of whom is shown here in the detail) - are separated from the main events by being placed on a small, rocky plateau. They act out their own, apparently independent, drama, largely unnoticed by the figures behind them.

Larger than the background figures and isolated from them, are the Virgin and her companions. Film treatment wrote an art-historical book entitled The Mill and the Cross, which served as the basis for the 2011 film, directed. The film sets into their historical context in sixteenth-century Flanders the characters in the painting and the circumstances of the painting's creation. The films stars as Bruegel and Michael York as his patron.Notes. dated and signed ' BRVEGEL MD.LXIIII'.

Some sources describe the painting as the largest, but its status changed following the attribution of the (much larger) in the twenty-first century. A cycle of 6 paintings, of which 5 remain: see individual Wiki entries,. This Monogrammist has been identified as Jan van Amstel, see Elise L. Smith, 'Brunswick Monogrammist' Grove Art Online, Oxford University Press, 12/4/07; and Collection: Dr. Herbert & Monika Schaefer: Selected Works, New Haven: Mountain View Press (1998), 32. Cf.

Pietro Allegretti, Brueghel, Milan:Skira (2003) passim. (in Italian).

Cf. Pietro Allegretti, ibid.,:Skira (2003). (in Italian). Cf.

(in Dutch) in 's, 1604, courtesy of the; and on. Cf. 2012-04-06 at the, Oxford Art Online. Pierra Francastel, Bruegel, Paris:Hazen (1995)Gallery of Details.