Sevillian school; late seventeenth century.

Sevillian school; late seventeenth century.
"Christ tied to the column".
Oil on panel.
It has Repainting and restorations on the pictorial surface.
The frame shows damages caused by xylophages.
Measurements: 157 x 86 cm.
Christ tied on the column is an enormously dramatic theme, but not narrative, thought to incite the faithful to be moved before the physical suffering of Christ and to admire his acceptance before the misfortunes that he has to suffer to redeem the humanity. In this case Jesus is represented in solitude, dejected, as his sorrowful face and frustrated gesture reveal. The thinness of his legs, the somber body attenuated with a tenebrist illumination, are features that deepen the Calvary of the last moments of Jesus' life. The scene takes place in the Praetorium of Jerusalem, the center of Roman power, where Christ has arrived for the second and last time, after passing through different instances. He is exhibited before the crowd ("Ecce Homo"), who preferred to free Barabbas rather than him and, either before or after this exhibition, he is stripped of his clothes and tied to a pillar, where he will be subjected to mockery regarding his alleged crime, being "king of the Jews", and tortures, including scourging and crowning with thorns.
Aesthetically the work is close to the painting of Pedro de Campaña y Blas de Prado, Spanish mannerist painter, recognized for his work in the Cathedral of Toledo. In 1586 he worked on the restoration of the frescoes painted by Juan de Borgoña in the Chapter House of the Cathedral of Toledo, where between 1591 and 1592 he painted the coats of arms of the prelates and their inscriptions. Between 1589 and 1590 he was called to El Escorial to appraise the paintings of Pellegrino Tibaldi and other Italian masters, as well as the "ornaments" made for the Santa Margarita by Titian and for a copy of the Last Supper by Leonardo da Vinci. Sent by Philip II, whom the sovereign of Fez would have asked to send him a famous painter, in May 1593 he set out for Morocco with the commission to portray the members of the court, a trip that was financed by the VII Duke of Medina Sidonia, Alonso Perez de Guzman.When he passed through Seville he met Francisco Pacheco, who tells in the Art of Painting that "when he went to Morocco by order of the King, he carried some canvases of fruits, which I saw, very well painted" Pacheco's affirmation, due to the date in which it happened, together with his condition of teacher of Sánchez Cotán, place Blas de Prado in the origins of the Spanish still life, although none of his hand has been preserved. He finally settled in Madrid and it would not be long before he resumed his contacts with the churches of the archbishopric of Toledo, since in March he is found contracting with Pedro Ruiz de Elvira the gilding of the altarpiece of Villarrubia de los Ojos.