(Bologna 1665–1747)
Christ comforted by an Angel
oil on canvas, 49 x 59 cm, framed

Provenance:
Salina collection, Bologna;
Private European collection

According to the Gospel of Luke (Luke 22: 43), an angel appeared and gave strength to Jesus, who had appealed to God the Father on the Mount of Olives shortly before his arrest to spare him the suffering of the Passion (‘Take away this cup from me’). Crespi has impressively staged the episode, employing an ingenious idea: the angel comfortingly puts his arm around Christ’s shoulder while holding the proverbial cup in his left hand.

Through Christ’s bent posture, by which Crespi sought to allude to the responsibility resting on the Redeemer’s shoulders, the painting emphasises his agony. The stark contrast of light and shadow also enhances the episode’s drama: Christ’s pale, suffering face and the angel’s affectionate gesture are set off against the darkness of the rest of the scene, in which a tiny light accent announces the approach of the Roman soldiers.

The present painting was probably intended for private devotion, as were a number of other pictures by Crespi’s hand, including Christ Carrying the Cross in Amiens (Musée de Picardie), which through its dramatic expression, as well as the focus of the composition, was also meant to encourage the spectator to meditate on this religious subject.

Provenance:
Salini collection, Bologna;
Private European collection

According to the Gospel of Luke (Luke 22: 43), an angel appeared and gave strength to Jesus, who had appealed to God the Father on the Mount of Olives shortly before his arrest to spare him the suffering of the Passion (‘Take away this cup from me’). Crespi has impressively staged the episode, employing an ingenious idea: the angel comfortingly puts his arm around Christ’s shoulder while holding the proverbial cup in his left hand.

Through Christ’s bent posture, by which Crespi sought to allude to the responsibility resting on the Redeemer’s shoulders, the painting emphasises his agony. The stark contrast of light and shadow also enhances the episode’s drama: Christ’s pale, suffering face and the angel’s affectionate gesture are set off against the darkness of the rest of the scene, in which a tiny light accent announces the approach of the Roman soldiers.

The present painting was probably intended for private devotion, as were a number of other pictures by Crespi’s hand, including Christ Carrying the Cross in Amiens (Musée de Picardie), which through its dramatic expression, as well as the focus of the composition, was also meant to encourage the spectator to meditate on this religious subject.