Andrea di Bartolo – The Crucifixion * National Gallery of Art (Washington)

The composition centers on a figure suspended from a wooden cross. The individuals body is rendered with a degree of realism unusual for the period; musculature and bone structure are discernible beneath the skin, lending a stark physicality to the scene. A sparse cloth clings loosely to the lower torso, revealing the wounds inflicted by the crucifixion. Crimson droplets of blood trace a path down the vertical beam, emphasizing the suffering endured. The head is turned slightly towards the viewer, the expression conveying a mixture of pain and resignation.
The background is dominated by a dark, reddish-brown hue, punctuated by areas of gold leaf that appear almost like flickering flames or celestial light. This creates an unsettling contrast between the earthly agony depicted in the foreground and a suggestion of something beyond, perhaps divine judgment or spiritual transcendence. The application of paint appears somewhat rough, with visible brushstrokes contributing to a sense of immediacy and emotional intensity.
The artist’s choice to depict the figure against this dark backdrop isolates him, emphasizing his vulnerability and solitude. There are no other figures present; the scene is stripped bare of any mitigating circumstances or supporting characters. This focus on the individuals suffering elevates it beyond a mere historical event, transforming it into a universal symbol of sacrifice and endurance.
The reverse side nature of this work suggests that it was originally part of a larger diptych or polyptych, with the scene intended to be viewed in conjunction with another image. This context would have likely provided additional layers of meaning and narrative complexity, now lost to us. The deliberate lack of surrounding elements invites contemplation on themes of mortality, faith, and the burden of suffering.