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This oil sketch depicting Christ being taken down from the cross is a study for a larger canvas commissioned for a private chapel in the monastery of Kremsmünter in Austria. Rottmayr painted many altars and ceiling frescoes in churches throughout Austria. His extremely fluid brush strokes bind the composition together. Preliminary studies like this could be used to show a patron what the final altarpiece would look like before work was begun. They were increasingly appreciated as works of art and collected during the 18th century.
Page data
- Page
- 1
- Source index
- 0
- Type
- photo
- Media ID
- 7c19e379565bfd72
- Size
- unknown
Document data
- ID
- 16411
- Core
- obj
- Type
- drawing
DTO data
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"contentType": "drawing",
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"title": "The Deposition from the Cross",
"description": "This oil sketch depicting Christ being taken down from the cross is a study for a larger canvas commissioned for a private chapel in the monastery of Kremsmünter in Austria. Rottmayr painted many altars and ceiling frescoes in churches throughout Austria. His extremely fluid brush strokes bind the composition together. Preliminary studies like this could be used to show a patron what the final altarpiece would look like before work was begun. They were increasingly appreciated as works of art and collected during the 18th century.",
"provenance": "Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1712 (Baroque)",
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Context sent to Scholar
Document identity
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"label": "The Deposition from the Cross",
"core": "obj",
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Document source metadata
{
"id": "16411",
"sourceUrl": "https://purl.thewalters.org/art/37.788",
"contentType": "drawing",
"stage": "normalized",
"title": "The Deposition from the Cross",
"description": "This oil sketch depicting Christ being taken down from the cross is a study for a larger canvas commissioned for a private chapel in the monastery of Kremsmünter in Austria. Rottmayr painted many altars and ceiling frescoes in churches throughout Austria. His extremely fluid brush strokes bind the composition together. Preliminary studies like this could be used to show a patron what the final altarpiece would look like before work was begun. They were increasingly appreciated as works of art and collected during the 18th century.",
"provenance": "Henry Walters, Baltimore [date and mode of acquisition unknown]; Walters Art Museum, 1931, by bequest.",
"date": "ca. 1712 (Baroque)",
"citationUrl": "https://purl.thewalters.org/art/37.788",
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Document source extras
{
"med": "oil on canvas",
"creator_ids": [
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],
"collection_ids": [
"BAR"
],
"exhibition_ids": [
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Page context
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