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©
Thyssen-Bornemisza Collection on loan with the Museu Nacional d'Art de Catalunya (MNAC)
Master of Forlì

The Descent from the Cross

ca. 1300 - 1305
Tempera on panel.
19.7 x 13.3 cm
Thyssen-Bornemisza Collection on deposit with the Museu Nacional d'Art de Catalunya (MNAC)
Inv. no.
248
(
1930.71
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
This panel of The Descent from the Cross entered the Thyssen-Bornemisza collection before 1930 and was tentatively attributed in catalogues of the collection published prior to 1981 as by Pietro Cavallini (ca. 1250–ca. 1330), for unexplained reasons. In 1927, however, the art historian Pietro Toesca expressed his disagreement with this attribution in a letter to the art dealer Julius Böhler who owned the painting at that date. The letter is now in the archives of the Museo Thyssen-Bornemisza.

Since it was first published by Evelyn Sandberg-Vavalà, the painting has been attributed to various artists including Giovanni Baronzio da Rimini (active ca. 1326–before 1362) and two anonymous painters. Edward B. Garrison was the first to attribute the panel to a newly rediscovered artist known as the Master of Forlì. In addition, he was the first to propose a group of works for this artist and to define his style. Garrison related the present panel to three others: The Flagellation of Christ (The Metropolitan Museum of Art, New York), The Disrobing of Christ(present whereabouts unknown; pair to the present panel when in the Maitland F. Griggs collection, New York); and The Burial of Christ(The Metropolitan Museum of Art, New York). According to Garrison, these four scenes from the Passion would have formed the lateral wings of a triptych that was dismantled at an unknown date and whose central panel might have been a Crucifixion. This suggestion was accepted by Boskovits who, however, suggested that the central image was a Death of the Virgin, while the exterior images were a Crucifixion and four saints. The exterior paintings are now in the Pinacoteca Comunale in Forlì.

In the present panel the Master of Forlì follows the traditional Byzantine formula. Standing on the ladder, Joseph of Arimathaea supports Christ’s body in his arms while Mary embraces her son. Saint John on one side and the holy women on the other support his arms. The artist located Nicodemus kneeling at the foot of the cross with a hammer in his belt, pulling out the last nail from Christ’s foot. As Boskovits noted, the artist describes the scene emphasising purely ornamental values and line. The technique is detailed, as can be seen in the heads of the figures and in Christ’s body, whose bones and muscles are carefully depicted. This artist was, however, familiar with Giotto’s compositional and spatial innovations, which he incorporated into his work and which are evident here in details such as the steps beneath the holy women and Nicodemus’ pose.

Mar Borobia
14th Century13th and 14th c. - Early Italian PaintingPaintingTemperapanel
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The Descent from the Cross. El Descendimiento, c. 1300-1305
The Descent from the Cross
Master of Forlì

©

Thyssen-Bornemisza Collection on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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The Descent from the Cross. El Descendimiento, c. 1300-1305
The Descent from the Cross
Master of Forlì

©

Thyssen-Bornemisza Collection on loan with the Museu Nacional d'Art de Catalunya (MNAC)

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