Rubens’ Raising of the Cross not only serves as a powerful religious icon but also represents a significant milestone in the development of Baroque painting, demonstrating the artist’s innovative approach to composition and his mastery of the human form. In this work Rubens introduces Antwerp to the Baroque style and the innovations he has brought back with him from the South. 

A Synthesis of Styles

The impact of Italian masters in this painting is evident: Michelangelo’s sculptural forms, Titian’s vibrant colors, and Caravaggio’s dramatic use of light and shadow all contribute to the distinctive character of this work and foreshadow the direction Rubens would take in his artistic development. Rubens painted Raising of the Cross after an eight-year time spent in Italy. Rubens’ artistic style in this painting reflects the profound influence of his experiences there in the shadow of these masters.

Rubens also had the opportunity to study Laocoön, the recently discovered ancient sculpture displayed in the Vatican. This masterpiece, renowned for its dramatic portrayal of human anguish, profoundly influenced Rubens and many other artists. Rubens himself created numerous sketches of Laocoön and other classical sculptures during his time in Rome. By seamlessly blending these Italian influences with the clarity and precision of Flemish art, Rubens developed a unique and expressive visual language. Even in this early work, The Raising of the Cross, we see the powerful realism and emotional intensity that would soon make him a highly sought-after artist, captivating secular rulers, wealthy patrons, and the Catholic Church.

Addressing the Needs of the Faithful: Rubens’ Solution for the High Altar

Commissioned as the altarpiece for the Church of Saint Walpurga in Antwerp, this work presented Rubens with unique challenges. The altar was situated nineteen steps above the congregation, creating a significant elevation. Furthermore, the choir extended unusually far, obstructing the view for many parishioners.

The Council of Trent, convened by the Catholic Church in response to the Protestant Reformation, emphasized the importance of didactic art. Church art was to serve a clear purpose: to instruct the laity in the theological truths of the Gospel and foster piety. Given these guidelines, an altarpiece that was primarily visible to the priests performing mass would not effectively fulfill its intended purpose.

In a church like Saint Walpurga an altarpiece would be clearly seen by the priests as they performed their rituals before the altar, but would not be of service to the parishioners. To solve this problem Rubens designed an altarpiece of immense size. The central panel of the painting is 11 feet wide by 15 feet tall, and with its wings fully opened the piece is 21 feet wide.

The altarpiece was so immense that it could not be removed from Rubens’ workshop due to the size of the door. As a result, Rubens undertook the ambitious task of painting the altarpiece within the church itself, one of the few spaces large enough to accommodate such a monumental work. A large sail was erected to shield his workspace from public view.

Above the painting was another work of God the Father. When placed in their intended locations Christ gaze is directed to God the Father in the painting above, increasing the emotional impact of Rubens’ dramatic presentation. 

The Influence of Ignatius Loyola on Rubens’ Baroque Style

Baroque painters were significantly influenced by the teachings of Ignatius Loyola, the founder of the Jesuit order. Loyola introduced a method of spiritual meditation that emphasized engaging all of the senses. This approach directly countered the movement among some Protestant groups to remove religious imagery from churches, as they believed such images could promote idolatry.

In contrast, Ignatius believed that all human senses could serve as pathways for divine grace. Rubens’ artistic style perfectly aligned with this concept. His paintings aimed to immerse the viewer in the scene, not just visually, but through a multi-sensory experience, much like watching a captivating film.

Baroque artists employed various techniques to achieve this immersive effect. These techniques are all evident in this particular work: a dramatic diagonal composition, a sense of action thrusting forward into the viewer’s space, the vibrant interplay of light and color, and a dynamic sense of movement. The overall effect is one of intense drama and profound emotional impact.

Rubens’ Innovative Triptych: Breaking with Tradition

This altarpiece is a triptych, a painting composed of three hinged wooden panels that can be closed or opened on special occasions. While the triptych format was common in the Middle Ages, it was considered somewhat outdated by the time Rubens was commissioned to paint this work. Undeterred, he introduced several innovative changes to the traditional style.

Typically, the side panels of a triptych featured related but independent scenes, often depicting the Virgin Mary, other saints, or the patrons who commissioned the work. However, Rubens chose to extend the narrative of the central panel onto the side panels, creating a sense of visual continuity. This effect is further enhanced by the seamless flow of the landscape and sky across all three panels.

The painting employs a “worm’s-eye view,” meaning we are positioned as if looking upwards at the scene, much like a worm viewing its surroundings. Although the elevated position of the altarpiece naturally encouraged an upward gaze, many artists intentionally employ this perspective to convey a sense of awe and reverence. The viewer is not only looking upwards physically but also metaphorically, acknowledging the higher station of the divine or the elevated moral ground of the subject matter.

Loyalty and Grief in the Face of Tragedy

The left panel, which would be Christ’s right side from his perspective, is filled with his followers. This placement is significant, as the right side traditionally symbolizes honor and is where artists typically position the righteous.

Dominating the upper portion of this panel are the Virgin Mary and the Apostle John. This pairing, depicting the two who loved Christ most deeply, would become a recurring motif in Christian art. Christ, in a poignant gesture, has entrusted his mother to John’s care.

While the other disciples have fled in fear of association with Christ, John stands steadfastly beside him during this darkest hour. Interestingly, the remaining followers depicted in this scene are women and children.

Four women stand in a group, their faces expressing varying degrees of grief and distress. They recoil or avert their eyes from the horrifying scene unfolding before them. One woman, clad in pink, falls back in shock, her gaze fixed on Christ’s suffering face, drawing our attention to his agony. Her nursing infant, deeply disturbed by their mother’s distress, ceases to feed, highlighting the profound impact of this traumatic event on even the most vulnerable.

Foreshadowing the Eclipse and Christ’s Departure

The panel to our right, depicts those responsible for the crucifixion and the two criminals who will be executed alongside him. A hardened soldier on horseback, seemingly indifferent to the unfolding tragedy, oversees the scene. His raised baton dramatically points towards Christ’s feet.

Beyond the soldier, we witness the horrific reality of the crucifixion: one criminal is already being nailed to the cross, while another is forcibly pushed forward by a soldier, presumably to take his place.

At the top of this panel, the sun and moon converge, foreshadowing the impending total eclipse. This celestial event is described in Luke 23:

“It was now about noon, and darkness came over the whole land until three in the afternoon, for the sun stopped shining.”

Rubens masterfully depicts this darkening of the sky, visually representing the approaching spiritual darkness.

This panel also carries deeper theological significance. Every September 14th, the feast of the Exaltation of the Cross was celebrated, during which John 12:35 was read:

‘You are going to have the light just a little while longer. Walk while you have the light, before darkness overtakes you. Whoever walks in the dark does not know where they are going. Believe in the light while you have the light, so that you may become children of light.’

This verse serves as a poignant reminder that Jesus, the light of the world, will soon depart, leaving humanity to navigate the darkness.

Center Panel

A Grounded Divinity: The Human Form of Christ in Rubens’ “The Raising of the Cross”

The central panel is dominated by the pale, muscular form of Christ, recently affixed to the cross. Unlike the emaciated figures often depicted in crucifixion scenes, Christ’s body is imbued with a powerful physicality, his muscles straining and twisting as he lifts his head towards heaven. In this moment, one can almost hear him uttering the anguished cry,

‘My God, my God, why have you forsaken me?’

By emphasizing Christ’s physicality, Rubens compels the viewer to confront the full humanity of his suffering. Here, Christ is not merely a divine figure, but a man enduring unimaginable physical pain for the salvation of mankind. This powerful depiction serves as a poignant reminder of the human cost of redemption

The Weight of Sin: Physicality and Emotion in Rubens’ “The Raising of the Cross”

Nine executioners strain mightily to raise the heavy cross, their grunts of exertion almost audible. The cross itself, bearing the weight of Christ, forms a receding diagonal, adding a sense of dramatic urgency to the scene.

One executioner pulls a rope from the front, while another crouches below, pushing upwards with his back. Some struggle at the base of the cross, while one has climbed above the cross itself to lend a hand. Most striking is the figure of a Herculean man in the foreground, his muscles straining as he exerts every ounce of strength. We are left wondering if these men can successfully raise the cross or if it will come crashing down.

The muscularity of these men, and indeed of Christ’s own body, reflects the profound influence of Michelangelo on Rubens’ style. This emphasis on physicality serves a deeper purpose: it visually represents the immense weight of humanity’s sins that Christ is bearing upon himself. This weight is so profound that even these exceptionally strong men struggle to lift the cross, reminding us that the true burden of Christ’s sacrifice extends far beyond the physical pain of the crucifixion.

Among the executioners and soldiers, only one exhibits signs of shock and confusion. This soldier, actively participating in the lifting of the cross, gazes upon Christ with an expression of bewilderment, seemingly struggling to comprehend the significance of his actions. Art historians believe that Rubens may have used his own likeness for this soldier, subtly acknowledging his own complicity in the crucifixion of Christ. This theory gains credence from the soldier’s attire: he wears armor typical of Rubens’ own era, while the other executioners are depicted in more traditional, biblically-inspired garb.

This poignant detail seems to echo the words of John 8:

“When you have lifted up the Son of Man, then you will know that I am he.” As we observe the soldier’s expression, we can almost sense a dawning realization that Christ may indeed be the Son of God.

Echoes of Psalm 22: The Dog at the Foot of the Cross

The presence of a dog at Christ’s feet alludes to a traditional iconographic element drawn from Psalm 22, often referred to as the Psalm of the Suffering Servant. Psalm 22:16 states,

‘Dogs surround me, a pack of villains encircles me: they pierce my hands and feet.’

This biblical verse provides a poignant context for the inclusion of the dog in Rubens’s composition, adding another layer of symbolic meaning to the scene.

The twisted Oak: A Symbol of Life and Redemption

There is a twisting, blowing oak tree behind Christ that is filling and darkening the background.  Artists of this era often made references in crucifixion paintings to the events that happened in the Garden of Eden, tying together the events of the Fall of Man to the redemptive story of Christ. Here the Oak stands for the tree of life.  Further connecting the idea, after Christ resurrection the cross will also be called the tree of life, for through it mankind can find life. 

From Antwerp to Paris and Back: The Travels of a Masterpiece

Napoleon, an admirer of Rubens’ work, ordered the removal of this painting, along with many others, from Antwerp to Paris during his rule. Following Napoleon’s defeat, the painting was returned to its city of origin. However, the Church of Saint Walpurga, heavily damaged by wartime events, had been demolished. As a result, the altarpiece was relocated to the Cathedral of Our Lady in Antwerp, where it remains to this day.

Within the Cathedral, the ‘Raising of the Cross’ occupies a prominent position in the Northern Transept. The ‘Descent from the Cross’ is displayed in the Southern Transept, while a depiction of the Crucifixion adorns the central altarpiece. This arrangement creates a powerful narrative sequence, guiding the viewer through the key events of Christ’s passion as they move through the sanctuary.

In Conclusion

Rubens’ ‘Raising of the Cross’ not only exemplifies the artistic triumphs of the Baroque era but also continues to resonate with viewers today, offering a profound meditation on human suffering, faith, and redemption.