Spanish Romanist master, possibly JUAN DE ANCHIETA; second third of the 16th century.

Spanish Romanist master, possibly JUAN DE ANCHIETA; second third of the 16th century.
"Christ on the cross".
Carved and polychrome wood.
Measurements: 97 x 76 x 26 cm.
Sculpture of Christ crucified represented with the naked body, defeated by death, of intense expressiveness and marked anatomical naturalism. The posture, with the body inclined and the arms descending, suggests that it could be part of a sculptural ensemble, possibly a Christ embracing St. Francis of Assisi, hypothesis reinforced by the dynamic disposition of the extremities.
Stylistically, the sculpture fully responds to the principles of Hispanic Romanism of the second half of the 16th century, a language that assimilates the formulas of the late Italian Renaissance - especially those of Michelangelo - and adapts them to the devotional demands of the Counter-Reformation. The body of Christ is conceived as a heroic nude, with a powerful and well-structured anatomy, where muscles and sinews are precisely defined, but without falling into descriptive excess: the modeling is firm, clear and harmonious, at the service of spiritual expression.
The composition in soft contrapposto, with the torso inclined and the head defeated, breaks the strict frontality and generates a marked sense of movement and three-dimensionality. This dynamism, reinforced by the descending and open arms, introduces a restrained dramatic tension that suggests interaction with another sculptural element, as occurs in the groups of Christ embracing St. Francis of Assisi. This is not a theatrical gesture, but a slow, almost suspended movement that intensifies the pathos.
The work shows clear affinities with the documented crucifixes of Juan de Anchieta, especially with the one made in 1584 for the church of San Miguel de Aoiz (Navarra). The treatment of the nude, the careful anatomy and the expressive restraint refer to the sculptor's own Romanist language.
Juan de Anchieta was a true specialist in the iconography of the Crucifixion, author of around a dozen examples, among which are the Christ of the Miserere of Santa María de Tafalla and, exceptionally, the Holy Christ of the Cathedral, considered one of the most relevant religious images of the Hispanic Counter-Reformation. These works demonstrate his ability to resolve the complex representation of a body that is both human and divine, reaching a deep spiritual intensity.