The Crucifixion; The Last Judgment, Jan van Eyck

The crucifixion of Christ: Christ's death on the cross; GolgothaMatthew 27:45-58

2 hands · 1436–1627

Now from the sixth hour there was darkness over the whole earth, until the ninth hour.Matthew 27:45

  1. The Crucifixion; The Last Judgment, Jan van Eyckca. 1436–38Jan van EyckThis record
  2. The Crucifixion, Francisco de Zurbarán1627Francisco de Zurbarán

What it depicts

Matthew 27:45-58Opened by a notation lookup, not by an editor. Iconclass 73D6 glosses this subject as “the crucifixion of Christ: Christ's death on the cross; Golgotha (Matthew 27:45-58; Mark 15:33-45; Luke 23:44-52; John 19:25-38)”, and this library reads the Douay-Rheims, where the passage stands at Matthew 27:45-58. Iconclass states 4 references for this subject; the first one this corpus holds is used.

45Now from the sixth hour there was darkness over the whole earth, until the ninth hour.

46And about the ninth hour Jesus cried with a loud voice, saying: Eli, Eli, lamma sabacthani? that is, My God, my God, why hast thou forsaken me?

47And some that stood there and heard, said: This man calleth Elias.

48And immediately one of them running took a sponge, and filled it with vinegar; and put it on a reed, and gave him to drink.

49And the others said: Let be, let us see whether Elias will come to deliver him.

50And Jesus again crying with a loud voice, yielded up the ghost.

51And behold the veil of the temple was rent in two from the top even to the bottom, and the earth quaked, and the rocks were rent.

52And the graves were opened: and many bodies of the saints that had slept arose,

53And coming out of the tombs after his resurrection, came into the holy city, and appeared to many.

54Now the centurion and they that were with him watching Jesus, having seen the earthquake, and the things that were done, were sore afraid, saying: Indeed this was the Son of God.

55And there were there many women afar off, who had followed Jesus from Galilee, ministering unto him:

56Among whom was Mary Magdalen, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee.

57And when it was evening, there came a certain rich man of Arimathea, named Joseph, who also himself was a disciple of Jesus.

58He went to Pilate, and asked the body of Jesus. Then Pilate commanded that the body should be delivered.

Read it in Matthew

Seen

Not yet checked

Suggested by an AI model, 2026-09-08 (hf.co/mradermacher/iconclass-vlm-GGUF:Q4_K_M), asked “Generate Iconclass labels for this image”. No one has checked these against the picture yet.

Iconclass
11DChrist73A2

Of

The subjects are the library’s own joins, each marked with who made it. The other rows are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Subject
The crucifixion of Christ: Christ's death on the cross; GolgothaMatthew 27:45-58joined by Abe Garcia
Iconclass
7373D6111U11representation of Last Judgement, with the archangel Michael weighing the souls (or dividing the blessed and the damned)
Holder's headings
Skeletons, Men, Angels, Christ, Mary Magdalene, Virgin Mary, Crucifixion, Last Judgement
Wikidata depicts
Jesus Christ, Mary, woman, man, Death

Means

No reading yet.

Rights

Credit
Fletcher Fund, 1933
Licence
CC0-1.0
Evidence
metmuseum.org collection api v1: isPublicDomain=true on object 436282 (read 2026-08-27)
Record
https://www.metmuseum.org/art/collection/search/436282
The Crucifixion; The Last Judgment, Jan van Eyck
The Crucifixion; The Last Judgment — Jan van Eyckca. 1436–38

How this join was made

Metropolitan Museum of Art, New York, NY gives this object the Iconclass notation73 73D61 11U11, and the library's map reads that notation as Matthew 27:45-58. An editor has checked the picture against the passage and confirmed it.

Van Eyck's diptych. The left wing is the Crucifixion, the crowd at Golgotha under the three crosses.

Within fifty years of ca. 1436–38

96
The Adoration of the Magi, Bartolo di Fredi
The Adoration of the MagiBartolo di Fredica. 1390Metropolitan Museum of Art, New York, NY
The Agony in the Garden, Unknown
The Agony in the GardenUnknownca. 1390Metropolitan Museum of Art, New York, NY
Adoration of the Magi from Seven Scenes from the Life of Christ, Unknown
Adoration of the Magi from Seven Scenes from the Life of ChristUnknownca. 1390Metropolitan Museum of Art, New York, NY
Corpus of Christ, from the Altarpiece of the Crucifixion, Jacques de Baerze
Corpus of Christ, from the Altarpiece of the CrucifixionJacques de Baerze1391–99The Art Institute of Chicago
A Medieval Bakery, from the Book of Problems of Pseudo-Aristotle, translated into the French by Évrart de Conty, Master of the Second Roman de la Rose of the Duke of Berry,
A Medieval Bakery, from the Book of Problems of Pseudo-Aristotle, translated into the French by Évrart de ContyMaster of the Second Roman de la Rose of the Duke of Berry,ca. 1400Metropolitan Museum of Art, New York, NY
St. Francis of Assisi with Donors in a Historiated Initial from an Unidentified Manuscript, Italian (Florence)
St. Francis of Assisi with Donors in a Historiated Initial from an Unidentified ManuscriptItalian (Florence)c. 1400The Art Institute of Chicago
Diptych with the Passion of Christ (right wing): Crowning with Thorns and Agony on the Garden , Unknown
Diptych with the Passion of Christ (right wing): Crowning with Thorns and Agony on the Garden Unknownc. 1400Cleveland Museum of Art
Five Panels of a Vajrasattva Crown with Transcendental Buddhas, Tibet
Five Panels of a Vajrasattva Crown with Transcendental BuddhasTibet15th centuryThe Art Institute of Chicago

Also at Metropolitan Museum of Art, New York, NY

735
Marble female figure, Bastis Master
Marble female figureBastis Master2600–2400 BCEMetropolitan Museum of Art, New York, NY
Relief Fragment with a Ship Under Sail, Unknown
Relief Fragment with a Ship Under SailUnknownca. 2465–2458 BCEMetropolitan Museum of Art, New York, NY
Tomb Chapel of Raemkai: South Wall, Unknown
Tomb Chapel of Raemkai: South WallUnknownca. 2446–2389 BCEMetropolitan Museum of Art, New York, NY
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah, Unknown
West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and WerdjedptahUnknownca. 2420–2250 BCEMetropolitan Museum of Art, New York, NY
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion, Unknown
Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign, Unknown
Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh SignUnknownca. 2150–2010 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion, Unknown
Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a LionUnknownca. 2150–2100 B.C.Metropolitan Museum of Art, New York, NY
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail, Unknown
Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tailUnknownca. 2100–2080 B.C.Metropolitan Museum of Art, New York, NY

Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

The Adoration of the Magi, Giovanni di Paolo (Italian, c. 1403–1482)
The Adoration of the MagiGiovanni di Paolo (Italian, c. 1403–1482)1440–45Cleveland Museum of Art
0.88
Diptych with the Passion of Christ (right wing): Crowning with Thorns and Agony on the Garden , Unknown
Diptych with the Passion of Christ (right wing): Crowning with Thorns and Agony on the Garden Unknownc. 1400Cleveland Museum of Art
0.87
Paradise, Giovanni di Paolo (Giovanni di Paolo di Grazia)
ParadiseGiovanni di Paolo (Giovanni di Paolo di Grazia)1445Metropolitan Museum of Art, New York, NY
0.87
Triptych with The Lamentation of Christ (center), St. Barbara (left wing), St. Catherine of Alexandria (right wing), The Annunciation (reverse wings), Master of the Krainburg Altar (Austrian, active c. 1485–1510)
Triptych with The Lamentation of Christ (center), St. Barbara (left wing), St. Catherine of Alexandria (right wing), The Annunciation (reverse wings)Master of the Krainburg Altar (Austrian, active c. 1485–1510)c. 1500Cleveland Museum of Art
0.86
The Last Supper, Bernard van Orley
The Last SupperBernard van Orleyca. 1525–28Metropolitan Museum of Art, New York, NY
0.85
The Banquet of Ahasuerus and Esther, Aurelio Lomi
The Banquet of Ahasuerus and EstherAurelio Lomi1600–17Metropolitan Museum of Art, New York, NY
0.84
The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families, Giovanni di ser Giovanni Guidi (called Scheggia)
The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni FamiliesGiovanni di ser Giovanni Guidi (called Scheggia)ca. 1449Metropolitan Museum of Art, New York, NY
0.84
The Adoration of the Eucharist, Peter Paul Rubens
The Adoration of the EucharistPeter Paul Rubensc. 1626The Art Institute of Chicago
0.84

In the stacks

Not yet checked1

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The grammar of painting and engraving · Charles Blanc

    There is, then, room for sentiment on the part of the wood-engraver even when everything has been indica- ted, fixed for him. With more reason may he become an artist when the designer has left him a choice, for it sometimes happens that the drawing given to the engraver is made by a painter, who, not knowing how to trace line by line the forms of his thought, or not wishing to* take the trouble, has only ex- pressed it in mass. The work is then abandoned to the engraver.
    0.69

Connections

Depicts

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Made in the fifteenth century, like The Crucifixion; The Last Judgment.

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