The Crucifixion

Public Domain

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Artist Hendrick ter Brugghen(Dutch, c. 1588–1629)Dutch, c. 1588–1629

CultureDutch

Titles

The Crucifixion

Datec. 1624–1625

MediumOil on canvas

DimensionsCanvas: 74 × 68 1/8 in. (188 × 173 cm)
Frame (outer): 86 5/16 × 76 9/16 × 4 3/16 in. (219.2 × 194.5 × 10.6 cm)

Credit LineMuseum purchase funded by the Agnes Cullen Arnold Endowment

Object number2025.228

Current Location

The Audrey Jones Beck Building

207 Powell Gallery

Exposé

Explore Further

Department

Arts of Europe and the Mediterranean

Object Type

PAINTING

ProvenancePrivate Collection, since 1960, Turin; [Galleria Luigi Caretto, since 2018, Turin]; [Adam Williams Fine Art & Christie's, 2019, New York]; purchased by MFAH, 2025.
Exhibition History28 Mostra Maestri Fiamminghi ed Olandesi del XVI e XVII secolo, Galleria Caretto, Turin, 1987.
Published References “Un Terbruggen [sic] Romano,”Il Giornale dell’Arte 50 (November 1987), p. 61, illus. Benedict Nicolson, Caravaggism in Europe, revised ed., 3 vols., ed. by Luisa Vertova, Turin 1989, vol. 1, p. 190. G. Ploos van Amstel, "Unde venis, Ploos van Amstel? Verdichtsel en waarheid over een afstamming,” De Nederlandsche Leeuw 107 (1990), cols. 240, 243. R. Schillemans, "Over Hendrick ter Brugghens 'Kruisgingen' en de aanspraak van Adriaen Ploos op een adellijke afkomst," De Zeventiende Eeuw 9 (1993), pp. 140-142, 148, fig. 4, as attributed to ter Brugghen. Natasha Therese Seaman, “Archaism and the Critique of Caravaggio in the Religious Paintings of Hendrick ter Brugghen,” Ph. D. dissertation, Boston University, 2006, pp. 142-43 n. 408. Leonard J. Slatkes and Wayne Franits, The Paintings of Hendrick ter Brugghen 1588-1629: Catalogue Raisonné, Amsterdam and Philadelphia, 2007, pp. 107-08, cat. no. A20, plate 19. Walter Liedtke, Dutch Paintings in The Metropolitan Museum of Art, 2 vols., New Haven and London 2007, vol. 1, p. 115. Rüdiger Klessman, “Review of L. J. Slatkes and W. Franits, The Paintings of Hendrick ter Brugghen 1588-1629: Catalogue Raisonné ,” Kunst Chronik 63 (2010), nr 8, pp. 375-76. Natasha T. Seaman, “Materiality and the Presence of the Past in Hendrick ter Brugghen’s ‘Crucifixion’,” Zeitschrift für Kunstgeschichte (2011), p. 494 n.12. Natasha T. Seaman, The Religious Paintings of Hendrick ter Brugghen. Reinventing Christian Painting after the Reformation in Utrecht, Aldershot and Burlington [VT] 2012, p. 98 n. 14. Wayne Franits, "Hendrick ter Brugghen’s Paintings of the Crucifixion in New York and Turin and the Problem of His Early Chronology," Journal of Historians of Netherlandish Art 9 no. 1 (2017), posted electronically. Inscriptions, Signatures and Marks

XRF imaging has revealed the remnants of an inscription near the left of the Virgin's head. This inscription, perhaps a signature with date, is presently indecipherable. More research to follow.

None

Catalogue raisonnéLeonard J. Slatkes and Wayne Franits, The Paintings of Hendrick ter Brugghen 1588-1629: Catalogue Raisonné, Amsterdam and Philadelphia, 2007, pp. 107-08, cat. no. A20, plate 19

Cataloguing data may change with further research.

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