The Crucifixion
Mourners beneath the cross and saints in side compartments: a large gold-ground altar panel by Orcagna, the leading Florentine painter of the 14th century. Full commentary ↓
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The Crucifixion is a tempera and gold painting by Andrea di Cione (ca. 1365) in the collection of The Metropolitan Museum of Art. It measures 137.5 × 81.9 cm.
In the pictureAt the center of the gold ground, Christ hangs on the cross while angels fly around him catching his blood. Below are women supporting the fainting Mary, John in red, and crowds of people, and in the vertical bands on either side a single saint is painted in each small compartment. At the top is a triangular peak with a pelican.
BackgroundAndrea di Cione, known as Orcagna, was the painter, sculptor and architect who led Florentine painting after Giotto. At 1.4 meters tall, this panel is the largest of the early Italian paintings in the Lehman Collection, and it probably stood above the altar of a church. Its composition, bringing together the saints' compartments on the sides and the pelican at the top (a symbol of Christ, said to feed its young with its own blood) in a single picture, shows the format of the 14th-century altarpiece well.
Puzzle tipWith so many elements, it suits a high piece count. Set the frame first with the vertical straight line of the cross and the compartment borders of the side bands, and group the figures below by the color of their clothes (red, blue and white). Fill the gold pieces starting with the ones that catch an angel or a halo. You can enjoy it at up to 300 pieces.
- Artist
- Italian, Florence 1315/20–1368 Florence
- Classification
- Paintings
- Medium
- Tempera on wood, gold ground
- Dimensions
- 137.5 x 81.9 cm
- Credit line
- Robert Lehman Collection, 1975
Source: The Metropolitan Museum of Art ↗
Stories about this work
- Named After a Masterpiece: Florentine Painters in Orcagna's Shadow
Art historians call painters whose names are lost by nicknames taken from their key works. Four Florentine altarpiece panels by Orcagna and painters in his shadow, a 70-year record.
- Why Early Renaissance Altarpieces Have Gold Backgrounds: Reading the Lehman Panels
Why is the background of every gold-ground panel in the Robert Lehman Collection gold? Early Renaissance painting, explored by putting the panels together as puzzles.
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