*** Welcome to piglix ***

Flagellation of Christ (Piero della Francesca)

Flagellation of Christ
Piero - The Flagellation.jpg
Artist Piero della Francesca
Year probably 1455–1460
Type Oil and tempera on panel
Dimensions 58.4 cm × 81.5 cm (23.0 in × 32.1 in)
Location Galleria Nazionale delle Marche, Urbino

The Flagellation of Christ (probably 1455–1460) is a painting by Piero della Francesca in the Galleria Nazionale delle Marche in Urbino, Italy. Called by one writer an "enigmatic little painting," the composition is complex and unusual, and its iconography has been the subject of widely differing theories. Kenneth Clark placed The Flagellation in his personal list of the best ten paintings, calling it 'the greatest small painting in the world'.

The theme of the picture is the Flagellation of Christ by the Romans during his Passion. The biblical event takes place in an open gallery in the middle distance, while three figures in the foreground on the right-hand side apparently pay no attention to the event unfolding behind them. The panel is much admired for its use of linear perspective and the air of stillness that pervades the work, and it has been given the epithet "the Greatest Small Painting in the World" by the art historian Kenneth Clark.

The painting is signed under the seated emperor OPVS PETRI DE BVRGO S[AN]C[T]I SEPVLCRI – "the work of Piero of Borgo Santo Sepolcro" (his native town).

The Flagellation is particularly admired for the realistic rendering of the hall in which the flagellation scene is situated in relation to the size of the figures and for the geometrical order of the composition. The portrait of the bearded man at the front is considered unusually intense for Piero's time.

Much of the scholarly debate surrounding the work concerns the identities or significance of the three men at the front. Depending on the interpretation of the subject of the painting, they may represent contemporary figures or people related to the passion of Christ, or they may even have multiple identities. The latter is also suggested with respect to the sitting man on the left, who is in one sense certainly Pontius Pilate, a traditional element in the subject. The notion of two time frames in the composition is derived from the fact that the flagellation scene is illuminated from the right while the supposedly "modern" outdoor scene is illuminated from the left. Originally the painting had a frame on which the Latin phrase "Convenerunt in Unum" ("They came together"), taken from Psalm 2, ii in the Old Testament, was inscribed. This text is cited in Book of Acts 4:26 and related to Pilate, Herod and the Jews.


...
Wikipedia

...