Conservation funded in 2018 by Richard K. Riess, dedicated to Nancy Jean Riess and her mother Consuelo Crespo Schnedler in honor of our Lady of the Miraculous Medal.

This depiction of the Crucifixion by Jacopo Tintoretto was painted around 1557-58 for the Chapel of the Sacrament in the Church of San Severo, in the sestiere of Castello; it is currently housed in the Gallerie dell’Accademia. Characteristic of Tintoretto’s uniquely dramatic style, the biblical event is teeming with energy, as is apparent in the numerous twisting figures that fill the canvas, almost to the effect of diluting or distracting from the principal event.

At the apex of this chaotic scene, Christ-on-the-Cross is illuminated at top-center with a glowing halo, and his body appears more noticeably at peace in contrast with the other figures. A subtly rendered spear wound on Christ’s torso intimates that he is already dead, which is further confirmed by the figure of Mary at the base of the Cross, who has fainted and is being held up by her companions. Tintoretto includes references to other events surrounding the episode of the Crucifixion as well, such as the Roman soldiers casting lots for Christ’s tunic in the right foreground. Out of the background’s darkness, the artist masterfully uses light to highlight not just the figure of Christ but also one of the two thieves on the cross as well as the centurion, who are both saved after declaring Christ the Son of God.

This large painting (over 14 feet wide by over 9 feet tall), was last restored in the 1940s and again in 1966 as it continued to show signs of conservation problems. Indeed, 50 years later, this canvas underwent conservation treatment to address many signs of deterioration, including several large areas of cracking and flaking paint that threatened permanent loss to the work. Severely altered areas of heavy retouchings from various restoration treatments combined with the effects of darkened surface varnishes had distorted the quality of this painting, rendering some sections nearly illegible to museum visitors. Thanks to the diligent efforts of conservator Barbara Ferriani and her team, Tintoretto’s vibrant color palette is once again visible and the painted surface has been safeguarded from future losses.

For select projects, conservation dossiers in Italian containing limited textual and photographic documentation may be available for consultation by appointment at the Venice office of Save Venice and the Rosand Library & Study Center. For inquiries, please contact us at venice@savevenice.org.

Jacopo Tintoretto (c. 1518/19–1594)
Crucifixion
1557-58, oil on canvas
282 x 445 cm

Gallerie dell’Accademia: Homepage

Dalla Costa, Thomas, Robert Echols, and Frederick Ilchman, eds. Tintoretto in Venice: A Guide. Venice: Marsilio, 2018.

Echols, Robert and Frederick Ilchman. Tintoretto: Artist of Renaissance Venice. New Haven and London: Yale University Press, 2018.