One of the most replicated representations by Philippe de Champaigne is the splendid Crucifixion in the Louvre Museum.
Here the artist demonstrates that he has fully mastered the classical language – first of all that of Guido Reni – in the accurate rendering of the figure. His religious works, like his portraits, are also a true reflection of the rationalism of French thought, as much as Poussin’s classical compositions in the 1840s.
The illustrator Jean Morin drew a successful series of prints, without neglecting the wonderful view of Jerusalem in the background. The canvas was painted before 1650 and donated by the artist in 1674 to the Carthusians of Paris, to be placed on the altar of the chapter house, replacing a painting by Nicolas Baullery. Seized during the Revolution, it arrived – after a few passages in state ownership – at the Louvre Museum in Paris.
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