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Christ Carrying the Cross

Artist: Sebastiano del Piombo (Italian, c. 1485–1547)
Date: c. 1515–17
Medium: Oil on panel
Size: 118 × 92 cm (46 7/16 × 36 1/4 in.); Framed: 143.6 × 117.5 × 8.3 cm (56 1/2 × 46 1/4 × 3 1/4 in.)
Made in: Italy
Style: Renaissance
Where to see it: Art Institute of Chicago

Lacy Armour, Ada Turnbull Hertle, Mary Swissler Oldberg Acquisition, Charles H. and Mary F. S. Worcester Collection funds; Wirt D. Walker Trust; Alyce and Edwin DeCosta and the Walter E. Heller Foundation Fund; Estate of Walter Aitken; Frederick W. Renshaw Acquisition, Marian and Samuel Klasstorner funds; Edward E. Ayer Fund in Memory of Charles L. Hutchinson; Lara T. Magnuson Acquisition, Director's funds; Samuel A. Marx Purchase Fund for Major Acquisitions; Edward Johnson, Maurice D. Galleher Endowment, Simeon B. Williams, Capital Campaign General Acquisitions, Wentworth Greene Field Memorial, Samuel P. Avery, Morris L. Parker, Irving and June Seaman Endowment, and Betty Bell Spooner funds · CC0 Public Domain · Art Institute of Chicago · image via Wikimedia Commons · see it at the museum ↗

Notes from the museum

Devotional paintings of Jesus carrying the cross were highly sought after in the 16th century, and Sebastiano del Piombo created numerous versions of this subject. Here, Simon of Cyrene attempts to help Christ lift the heavy cross while a Roman soldier looks on menacingly. The powerful diagonals of the cross, poignant expressions of the figures, and luminous landscape background all serve to heighten the composition’s dramatic impact. A follower of Michelangelo and a rival of Raphael, Sebastiano was one of the most distinguished artists of the High Renaissance in Rome and the favorite painter of Pope Clement VII.

Text: Art Institute of Chicago (open access). Our full story for this work is coming soon.

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About Sebastiano del Piombo

Sebastiano del Piombo was an Italian painter of the High Renaissance and early Mannerist periods, famous as the only major artist of the period to combine the colouring of the Venetian school in which he was trained with the monumental forms of the Roman school. He belongs both to the painting school of his native city, Venice, where he made significant contributions before he left for Rome in 1511, and that of Rome, where he stayed for the rest of his life, and whose style he thoroughly adopted.

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