The Mond Crucifixion, c.1502/03 Raffaello Sanzio Raphael (1483-1520)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Raffaello Sanzio Raphael also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Mond Crucifixion is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

Raphael’s "Mond Crucifixion," completed circa 1502/03, presents a moment of profound spiritual intensity, rendered with the clarity and grace that would come to define the artist’s mature works. At the center of the composition, Christ hangs on the Cross, his body displaying a serene acceptance of suffering. Flanking him on ethereal clouds, two angels delicately balance, capturing his blood in golden chalices, a direct allusion to the Eucharistic sacrifice. Below, an intimate group of mourners, including Saint Jerome and Mary Magdalene, gaze upward in devotion and grief, while the Virgin Mary and Saint John the Evangelist engage the viewer with their sorrowful expressions, pulling us into the emotional gravity of the scene.

The color palette is striking in its balance and harmony. The soft blues and greens of the rolling Umbrian landscape provide a tranquil backdrop that contrasts with the deep reds and golds of the robes worn by the figures, anchoring the composition in a delicate equilibrium. The sun and moon, depicted simultaneously in the sky, underscore the cosmic significance of the event while adding a surreal, almost mystical dimension. Raphael’s use of color is never merely decorative - it serves to guide the viewer’s emotions, from the celestial serenity of the heavens to the somber shadows cast by the mourners’ garments.

Raphael’s technique is meticulous, his brushwork almost imperceptible, resulting in surfaces that feel luminous and alive. The modeling of Christ’s body, with its graceful musculature and gentle curves, reveals the artist’s early mastery of anatomy and his deep study of classical sculpture. The angels, though airborne, exhibit a naturalistic weight and poise, their fluttering ribbons adding a sense of dynamic motion to the otherwise still composition.

The composition itself is a triumph of symmetry and narrative clarity. The vertical axis of the Cross divides the scene, while the horizontal line created by the angels’ positions mirrors the earthly and heavenly realms. The figures below form a semicircle, leading the viewer’s eye upward to Christ, the focal point of the work. This intentional structuring reflects Raphael’s early engagement with the principles of perspective and balance, hallmarks of the Renaissance.

Commissioned by Domenico Gavari for a burial chapel, this altarpiece not only fulfills its liturgical function but also exemplifies the Renaissance ideal of merging divine mystery with human emotion. It invites quiet contemplation, offering a glimpse into Raphael’s evolving genius and his ability to convey profound theological truths through harmonious beauty.