An artwork on Galleree from Minneapolis Institute of Art.
About the artwork
Crucified Christ Triumphant over Death, Evil, and Sin1621
Artist: Paolo Guidotti, called Cavalier Borghese
Italian, Lucca c. 1560–1629 Rome
vertical composition with Christ on cross wearing a tan loincloth and crown of thorns with six weeping women in jewel-tone robes; skeleton, male nude wearing a crown of snakes, male nude with hands behind his back, and calm-faced woman with blonde hair at foot of cross; received framed in elaborate frame with chased gold balls and faux tortoiseshell
16 1/8 × 9 1/4 in. (41 × 23.5 cm) (sight)
16 1/8 × 9 7/16 in. (41 × 24 cm)
21 1/8 × 14 5/8 × 3 1/8 in. (53.7 × 37.1 × 7.9 cm) (outer frame)
Oil on walnut panel
Painting
Italy
17th century
The Putnam Dana McMillan Fund
In the soft glow of candlelight, the story of Paolo Guidotti unfolds like a quietly swirling mist, revealing a remarkable figure from history. This man, a true Renaissance spirit, embraced the world with an insatiable curiosity that knew no bounds. Guidotti was captivated by the dream of flight; he crafted wings from the bones of whales, adorned them with feathers, and ingeniously incorporated springs. Yet, his ambition soared too high when he leapt from a roof and met the unforgiving ground, fracturing his leg and perhaps his dreams, if only momentarily.
An explorer of the unknown, he found inspiration in the shadows of human anatomy, reportedly unearthing body parts from recently buried corpses to better understand the fragility of life. But it wasn’t just the human body that piqued his interest; Guidotti dabbled in the realms of architecture and law, weaving the threads of knowledge into a tapestry as rich and complex as his own artistic expression. Critics, in a mix of awe and disbelief, would label him “a crazy master,” hinting at the splendidly eccentric quality of his work, teetering on the edge of the “hallucinatory.”
His talent shines through in a hauntingly beautiful portrayal of the Crucifixion, where darkness paints the canvas, enveloping the scene in a somber embrace. Jesus, His body frail and tormented, hangs still—sorrow cradling His bowed head. Beneath the cross lies a grim tableau of figures that speak volumes of despair: Death, depicted as a skeletal reminder of mortality; Evil, taking shape as the menacing figure of Lucifer; and Sin, incarnated by the bound and naked forms of Adam and Eve—an eternal reminder of humanity’s fallen state.
Surrounding this tragic spectacle are six mourning women, embodiments of grief and devotion—the six Maries, their names echoed throughout the Bible. Among them, the Virgin Mary swathed in a serene blue mantle stands resolute, while Mary Magdalene kneels at Christ’s feet, her heart breaking on the canvas. The others, Mary of Clophas, Mary, mother of James and John, Mary of Bethany, Mary, mother of John Mark, and Mary of Rome—each a mirror reflecting deep sorrow and resilience.
Crafted in the stillness of 1621, this diminutive devotional painting found its purpose likely as a cherished gift for Cardinal Maffeo Barberini, a man destined to wear the papal crown as Pope Urban VIII. Just two years beyond its creation, the painting would witness Urban rise to his place of power, tracing its legacy through the annals of the Barberini collection in Rome, leaving an indelible mark in the 17th and 18th centuries.
In Guidotti’s art, we are invited to ponder the intricacies of life, love, and loss. Each brushstroke tells a tale, whispering echoes of devotion and humanity, reminding us of the profound stories we carry within our stories—a testament to the enduring power of the human spirit.
About the artist
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