User:NayaArtHistory/Crucifixion Triptych

Crucifixion Triptych
Year	c. 1443–1445
Location	Kunsthistorisches Museum, Vienna

The Crucifixion Triptych is an altarpiece of c. 1443–1445 by Rogier van der Weyden, now in the Kunsthistorisches Museum in Vienna. The central scene shows the Crucifixion of Christ, with the Virgin Mary clinging to the foot of the cross, John the Evangelist comforting her and the painting's two donors kneeling to the right. On the left-hand side panel is Mary Magdalene, while on the right side panel is Saint Veronica. A unified landscape background across all three panels shows Jerusalem in the distance.

Stylistic Choices

This piece was made with the intention of becoming a triptych, despite that it was painted as one panel piece and then later cut. You can see this intention because Rogier Van Der Weyden had painted delicate golden frames onto the paintings themselves.

Centrally depicted between the two side wings, is the Crucifixion scene. Mother Mary is shown wearing lapis blue and a pure white head covering. To her left shown consoling her is Saint John, wearing a vibrant red covering gazing up towards Jesus on the cross.

The two figures to the right of the cross below Jesus’s feet are the patrons, superheated only by a small crack in the earth. This depiction separates the worldly from the heavenly while still encompassing them into the scene. This provided an ability for the viewer and patron to create a prayer aid to make it easier to place the viewer into mentally see themselves and experience the scene .

Rogier van der Weyden, a Flemish painter, illustrated this image in a typical northern style. This style is characterized through this work. The Virgin Mary  for example shown gripping the cross below Jesus’s peirced feet. She is shown with intense emotions, caressing her cheek against the bloody wood as she mourns, as her arms grip around the cross, the weight of her sorrow is depicted in the falling motion of her body. Her face flushed red and tears rolled down her face. This intensification of emotion is distinctive of the Northern style.

Mary Magdalene depicted on the left panel piece is shown isolated and  sorrowfully looking down whilst she holds a small jar. The jar holds ointment for Christ’s feet. While on the right Veronica is depicted holding the cloth is believed to wipe the face of Christ when he was carrying the cross to his crucifixion. It renders an image of Jesus’s face in a realistic, idealism style and is thought to have marvously appeared as she displays it for the viewer. She holds this cloth with such pose and softness. Her face angled downward to look at his face and ache.

Biblical Iconography

This illustration holds classic Crucifixion iconography. The most notable characteristic being Christ pinned to a cross, in this image wearing only a loincloth. This cloth is made from simplistic fabrics, rarely ever expensive. It is shown flowing in and angelic like pattern appearing almost as if its floating. This unrealistic movement is to signal to the viewer that he is otherworldly or of heavenly. He is devoted here with soft, pale and supple skin yet his body appears to be so thin almost in a malnourished state.

Symbolism

This image is believed to hold great symbolism in its landscape from the green rolling hills to the gradient blue sky. The gradient sky reflects the dark navy blue back onto the angels flooring on the same plane as Jesus’s upper body. The angels scaled one the same plane as the Christ’s body, depicting them closer to the heavens and over all that is earthly.

Jerusalem is depicted far back into the landscape in an idealized fashion. Rogier van der Weyden influenced by the contemporary northern style.paints this complex city with its influence in mind. The city is vibrant and feels alive, from the gothic styled windows to dome like structures.