Scene from the new testament that recounts the descent of the body of the dead jesus christ from the cross (matthew 28, 57-61; mark 15, 42-47; luke 23, 50-55; john 19, 38-42). Joseph of arimathea, nicodemus and saint john the evangelist unnail and lower the holy body, while the magdalene laments at their feet and the virgin is consoled in her pain by other holy women. Considered one of correa's best works, the careful composition stands out, the balance of which is reminiscent of the art of juan de borgoña (c. 1470 1534) and antonio comontes (ca. 1520). Its size and format suggest that it could have been part of the altar of some toledo church confiscated in the 19th century. The composition is a survival of the florentine models perceived through john of burgundy, such as the descent from the cross of the latter painted in fresco in the chapter house of the cathedral of toledo (1509-1511). It is a complex narrative where mary's pain, the intense devotion of magdalene and the physical activity of nicodemus, joseph of arimathea and, in this copy from the prado, saint john himself coexist. The scene is framed here in a splendid landscape that also evokes the burgundian master. The contrast between the rocks of rotund geometry, crowned by bushes and thickets of an intense green, with the clay color of the stones serves to create a close and luminous scene that opens in the center towards a line of the horizon populated by valleys and hills (text extracted from ruiz, leticia: juan correa de vivar, c. 1510-1566. Master of the spanish renaissance, 2010). Object Type: painting. Genre: religious art. Date: circa 1545. Dimensions: height: 225 cm (88.5 in); width: 178 cm (70 in). Medium: oil on panel. Depicted People: Jesus. Collection: Museo del Prado. Descendimiento de la Cruz, por Juan Correa de Vivar
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