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Museo Nacional Thyssen-Bornemisza, Madrid
Master of the Pomposa Chapterhouse

The Crucifixion

ca. 1320
Tempera and gold on panel.
29 x 20.5 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
260
(
1930.23
)
ROOM 1
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  
The name of the Master of the Pomposa Chapterhouse derives from the group of frescoes that decorate the chapterhouse of the Benedictine abbey of Pomposa near Ferrara. In addition to the present panel, Boskovits suggested a
Virgin and Child (The Metropolitan Museum of Art, New York), and two paintings in the Musée du Louvre as also being by his hand.

The present panel was in the Thyssen-Bornemisza collection in 1930, the date in which it was included in the major exhibition held at the Neue Pinakothek in Munich when this important collection was first presented to the general public. The painting was at that point attributed to the Circle of Giotto based on Wilhelm Suida’s study of the panel. In later catalogues of the collection it was suggested that it was by an anonymous Florentine artist of around 1350. This suggestion was retained until 1989 when Caroline de Watteville published it in the guidebook of works on display at the Villa Favorita as a work by the Master of the Pomposa Chapterhouse.

Despite its small size the painting includes a large number of figures arranged in two groups on either side of the cross. In the centre, the dead Christ, with an ample loincloth, rests his feet on a large pedestal. A stream of blood runs from the base of the cross and terminates at Adam’s skull. The artist includes four small angels, one praying with a suffering expression while the other three hold up dishes to collect Christ’s blood that spouts from his wounds. In the case of the wounds on his hands the blood drips down in fine lines while it gushes from his ribs. Standing on a bare Mount Golgotha, the men are presented on the right with Saint John in the front, and the women balancing the composition on the left with the Virgin, who has fainted, supported by the Magdalen and another holy woman. Among the figures that accompany Christ, Nicodemus has been identified as the bearded man on the far right, while the centurion is the soldier in a helmet who raises one of his arms and points to Christ. This group also includes various lances and the sponge with vinegar tied to a branch of hyssop.

Mar Borobia
14th Century13th and 14th c. - Early Italian PaintingPaintingTempera and goldpanel
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The Crucifixion. La Crucifixión, c. 1320
The Crucifixion
Master of the Pomposa Chapterhouse

©

Museo Nacional Thyssen-Bornemisza, Madrid

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The Crucifixion. La Crucifixión, c. 1320
The Crucifixion
Master of the Pomposa Chapterhouse

©

Museo Nacional Thyssen-Bornemisza, Madrid

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