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Christ at the Column (Antonello da Messina)

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and Venetian influences into a mature art. For long time the unusual small size and close-up view of the subject led scholars to think that the work had been cut down and originally extended lower, and that originally a parapet separated Christ from the watchers. This theory has been proved to be
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As usual, Antonello devoted high attention to the rendering of details: the sweaty hair, the beard (each hair of which can be distinguished), the half open mouth, in which teeth and tongue can be seen, the first stripes of blood marking the face, the perfectly transparent drops.
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The face of Christ was a common theme in Antonello's art: however, portraying Christ in the middle of his pain, in the moment in which the tortures have just begun, Antonello managed to obtain an emotive impact sometimes lacking in his similar works.
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Painted in his final years, the pictures shows Antonello's assimilation of the
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25.8 cm × 21 cm (10.2 in × 8.3 in)
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Antonello da Messina : Sicily's Renaissance master
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This article about a fifteenth-century painting is a
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Index


Antonello da Messina
Musée du Louvre
Paris
Italian
Antonello da Messina
Flagellation of Christ
Louvre
Paris
Early Netherlandish
Crucifixion (Antonello da Messina)
Ecce Homo (Antonello da Messina)
Antonello da Messina : Sicily's Renaissance master
Description on the site of the Louvre
Description
v
t
e
Antonello da Messina
Saint Jerome and Abraham panels
Salting Madonna
San Gregorio Polyptych
Virgin Annunciate
Annunciation
Saint Jerome in His Study
Calvary
Portrait of a Man
San Cassiano Altarpiece
Virgin Annunciate
Christ at the Column

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