Sir John Charles Robinson

British, 1824 - 1913

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English painter, art critic and museum director (1824-1913)

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In this horizontal painting, a crowd of more than two dozen men and women gathered shoulder to shoulder at the foot of three men hanging from wooden crosses nearly fill the scene. All the people have pale or ruddy skin. To our left of center, each of the crucified men is tied and nailed to a cross. Blood pours from their hands and feet, and from a gash over the central man’s right ribs. The men’s heads slump and their bodies sag. They are nude except for a red cloth across the central man’s hips and a small white loincloth on the man to our right. Two of the men wear crowns of thorns. The spear piercing the central man’s side is held by a man riding a white horse in the crowd below. At least three additional men in the crowd are on horseback. Many of the men are armed with spears, creating a bristle of vertical and diagonal lines over the group. The men and women wear robes and uniforms in shades of golden yellow, pine green, crimson and rust red, black, and cream white. A few men wear metal helmets, and one wears armor. Near the lower left corner, a woman wearing a navy-blue robe has fainted and is supported by two kneeling women while another woman and cleanshaven man look on, their fingers interlaced and held low. The smooth ground is grass green. A spindly tree with dark green leaves grows up the right side of the composition. Off in the distance beyond the tree, two buildings hint at a city. Blue clouds billow in the blue sky above.
Luca Signorelli, The Crucifixion, c. 1504/1505, tempera, oil, and gilding on panel, Samuel H. Kress Collection, 1952.5.75

The Crucifixion

Luca Signorelli · c. 1504/1505 · tempera, oil, and gilding on panel ·  Accession ID  1952.5.75

Francesco da Sangallo, Giovanni de' Medici delle Bande Nere, 1498-1526, Celebrated Condottiere and Father of Cosimo I [obverse], c. 1522, bronze, Samuel H. Kress Collection, 1957.14.907.a

Giovanni de' Medici delle Bande Nere, 1498-1526, Celebrated Condottiere and Father of Cosimo I [obverse]

Francesco da Sangallo · c. 1522 · bronze ·  Accession ID  1957.14.907.a

Francesco da Sangallo, Winged Thunderbolt [reverse], c. 1522, bronze, Samuel H. Kress Collection, 1957.14.907.b

Winged Thunderbolt [reverse]

Francesco da Sangallo · c. 1522 · bronze ·  Accession ID  1957.14.907.b

Anonymous Artist, Maddalena of Mantua [obverse], probably c. 1500, bronze, Samuel H. Kress Collection, 1957.14.675.a

Maddalena of Mantua [obverse]

Anonymous Artist · probably c. 1500 · bronze ·  Accession ID  1957.14.675.a

Anonymous Artist, Wounded Swan [reverse], probably c. 1500, bronze, Samuel H. Kress Collection, 1957.14.675.b

Wounded Swan [reverse]

Anonymous Artist · probably c. 1500 · bronze ·  Accession ID  1957.14.675.b

Sperandio, Francesco II Gonzaga, 1466-1519, 4th Marquess of Mantua 1484 [obverse], c. 1495, bronze, Samuel H. Kress Collection, 1957.14.724.a

Francesco II Gonzaga, 1466-1519, 4th Marquess of Mantua 1484 [obverse]

Sperandio · c. 1495 · bronze ·  Accession ID  1957.14.724.a

Sperandio, Francesco Gonzaga on Horseback, with Soldiers [reverse], c. 1495, bronze, Samuel H. Kress Collection, 1957.14.724.b

Francesco Gonzaga on Horseback, with Soldiers [reverse]

Sperandio · c. 1495 · bronze ·  Accession ID  1957.14.724.b

Agnolo Bronzino, Giulio Clovio, The Fall of Phaethon, 1555/1559, black chalk on laid paper, Woodner Collection, 1998.17.10

The Fall of Phaethon

Agnolo Bronzino, Giulio Clovio · 1555/1559 · black chalk on laid paper ·  Accession ID  1998.17.10

Five men and two women gather around an infant in a landscape in this vertical painting. The people all have pale or peachy skin with delicate facial features. Halos, like gold rings, float behind each head. All the men but one have beards, and most of the people’s lips are parted. The pudgy baby, Jesus, lies nude on a white cloth on the grassy ground near the bottom center of the composition. Three people kneel around and look down at him. To our left, a man wearing a fur-lined, powder-blue tunic under a rose-pink robe crosses his arms to touch opposite shoulders. A tall staff with a gold cross at the top rests in one elbow. Just behind Jesus, a woman wearing a gold crown and sage-green and pink robes holds a palm frond in one hand and extends the other over the baby. To our right, Mary wears a gold diadem and an apple-red dress. The cloak billowing behind her shoulders and fluttering to our right is emerald green on one side and silvery blue on the other. She also crosses her hands over her shoulders. Four men stand behind the group. Starting behind Mary, to our right, a man faces our left in profile. He holds a tall staff in one hand and points at Mary with the index finger of the other. The next man looks at the first with his hand held by his own face, the first two fingers splayed over his beard near his mouth. Next, another man looks down at Jesus with his hands together in prayer by the shoulder farther from us. These three men wear robes in canary yellow, burnt orange, dark blue, vivid green, or raspberry pink. The fourth man, along the left edge of the painting, is nude except for a coral-orange and yellow cloth tied around his hips. He has short brown hair and is cleanshaven. The feathered ends of three arrows project from his torso and three more wounds on his neck, shoulder, and thigh trickle blood. He holds an arrow by his side with one hand and reaches out with this other to hold the first two fingers and thumb up over Jesus. A gray stone building rises along the right edge of the composition behind the group. A person wearing a white tunic, red robe, and a straw-colored hat climbs a set of stairs there. That person holds a long staff over one shoulder and carries a lamb by the animal’s four legs in the other. In the sky above the main group, a bearded man a triangular halo over gray hair floats among about a dozen winged, child-like angels on a cloud bank. The man holds up one hand in blessing and holds an orb topped with a cross in the other hand. A bank of winged baby heads clusters in the distance, farther along the cloud bank. A few people, tiny in scale, sit or walk through the landscape, which leads back to ice-blue, craggy mountains. Cream-white and muted blue clouds fill the sky above. The artist signed the work as if he had left an inscribed tablet near Jesus. It reads, “M.D.XXXIIII. PERINO BONAC CORSSI FLORENTIN OPVS FACEBA.” The letters of the artist’s name, PERINO, are then combined into two monograms.
Perino del Vaga, The Nativity, 1534, oil on panel transferred to canvas, Samuel H. Kress Collection, 1961.9.31

The Nativity

Perino del Vaga · 1534 · oil on panel transferred to canvas ·  Accession ID  1961.9.31

Clemente da Urbino, Eagle with Spread Wings Supporting a Platform of Symbolic Objects [reverse], 1468, bronze, Samuel H. Kress Collection, 1957.14.693.b

Eagle with Spread Wings Supporting a Platform of Symbolic Objects [reverse]

Clemente da Urbino · 1468 · bronze ·  Accession ID  1957.14.693.b