Rubens, Peter Paul – The Elevation of the Cross, sketch for the triptych painted in 1609-1610 for the church in St.Walburg in Antwerp, now in the Antwerp Cathedral. Wood, 68 x 107 cm (center 52, right 27, 5 and left 26 cm) M.N.R.411 Part 1 Louvre

The wood panel presents a complex composition divided into three distinct sections, suggesting its role as a preparatory sketch for a larger triptych. The overall impression is one of dramatic intensity and dynamic movement, achieved through the use of forceful lines and a restricted palette dominated by earth tones punctuated by flashes of red and blue.
On the left panel, a group of figures are clustered around a central figure draped in crimson robes. This individual appears to be gesturing towards the central scene, their posture conveying both authority and sorrow. Surrounding them is a throng of onlookers, including women and infants, rendered with considerable emotional expressiveness. The artist has employed rapid, gestural strokes to delineate faces and drapery, creating a sense of immediacy and urgency. A palpable feeling of grief permeates this section, establishing an atmosphere of mourning and contemplation.
The central panel depicts the core event – a struggle involving several muscular figures engaged in raising a large wooden cross. The composition is chaotic, with bodies intertwined and straining under the weight of their task. The artist has emphasized the physical exertion through exaggerated musculature and contorted poses. A sense of raw power and suffering emanates from this scene; it’s not merely an act of execution but a display of immense human effort and sacrifice. The landscape behind is indistinct, contributing to the focus on the immediate drama unfolding in the foreground.
The right panel shifts the perspective outward, showing a procession of figures on horseback moving away into the distance. A standard bearing a flag is prominently displayed, suggesting a military or ceremonial context. This section introduces an element of order and formality that contrasts with the turmoil of the central scene. The receding figures create a sense of depth and imply a broader narrative beyond the immediate event depicted.
Subtleties within the sketch reveal deeper layers of meaning. The varying degrees of finish across the three panels suggest different stages in the artist’s planning process; the left panel appears more fully developed than the right, hinting at its greater importance to the overall design. The limited color palette and rapid execution point towards a working drawing intended to explore compositional possibilities rather than a finished artwork.
The compositions structure – the grouping of figures on the left, the central action, and the receding procession on the right – suggests a narrative progression, moving from sorrowful anticipation through intense struggle to eventual resolution or aftermath. The sketch’s dynamism and emotional intensity foreshadow the grandeur and pathos that would characterize the final painted triptych.