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Old Master Paintings

Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Open a larger version of the following image in a popup: Ramon Solá II (doc. 1431-1484), Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475

Ramon Solá II (doc. 1431-1484)

Man of Sorrows, the Virgin and Saint John the Evangelist, Girona, 1450-1475
Painting in tempera on panel
57 x 59 cm
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Provenance

Private collection, Barcelona.

Literature

VELASCO 2020, p25, Fig. 2. ‘Catàleg de pintura antiga’, Museu del Cau Ferrat. (reproduced)

The panel presents a depiction of Christus Patiens emerging from his tomb, flanked on the left and right by the Virgin and St. John the Evangelist. Christ appears in the middle of the composition, his arms crossed, and his head tilted to his right. He is dressed solely in a perizonium with abundant parallel folds. He shows clear signs of the martyrdom suffered during the Passion, explicit in the blood flowing from the wounds to his hands and, particularly, to his side. His body is robust and rounded, with ample ribcage and the ribs highly pronounced. He wears the crown of thorns on his head, which has caused the cuts from which a few drops of blood are trickling down his forehead and face. He also presents a nimbus with rays of light, executed using pastillage technique and gilt plaster. He has a long head of straight hair, which falls down over his shoulders and back. As regards his face, it is that of a corpse. His eyes are shut, and wrinkles reinforce his expressivity. His eyebrows are thin and delicate, drawn with two simple brown lines. His cheekbones are prominent and hint at the bone structure, covered by a fairly sparse and trimmed beard. His mouth, slightly open, does not reveal any teeth

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