Who painted Crucifixion of Saint Peter?

Crucifixion of Saint Peter was painted by Giulio Cesare Procaccini in 1612.

Where can I see Crucifixion of Saint Peter?

Crucifixion of Saint Peter is held by National Gallery of Art.

What movement is Crucifixion of Saint Peter?

Crucifixion of Saint Peter is associated with Baroque.

Artwork

Crucifixion of Saint Peter

Giulio Cesare Procaccini , 1612

Crucifixion of Saint Peter is an ink drawing by the Baroque artist Giulio Cesare Procaccini. It dates from 1612 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1612, the drawing titled *Crucifixion of Saint Peter* is executed in pen and brown ink with a brown wash on laid paper. Italian artist Giulio Cesare Procaccini, active in early‑Baroque Milan, produced the work as a religious study depicting the martyrdom of the apostle Peter.

Subject & Meaning

The composition centers on two figures: an inverted man whose arms are outstretched, representing Saint Peter’s traditional upside‑down crucifixion, and a standing figure clasping his hands. Below them a crowd of smaller onlookers gathers, emphasizing the public nature of the execution and the saint’s humility.

Technique & Style

Procaccini employs swift, gestural lines and dense cross‑hatching to model folds in clothing and muscular tension. The brown wash deepens shadows, creating a contrast that makes the central figures emerge from the light background, a hallmark of Baroque dynamism and chiaroscuro.

History & Provenance

The drawing reflects the artistic program promoted by Cardinal Federico Borromeo, a leading patron of Milanese art. Under Borromeo’s guidance, Procaccini collaborated with contemporaries such as Giovanni Battista Crespi and Pier Francesco Mazzucchelli, situating the work within a network of early‑Baroque production.

Context

Produced during the early Baroque period, the piece aligns with the era’s emphasis on dramatic movement and emotional intensity. Its religious subject matter and expressive handling of ink and wash illustrate the period’s shift toward more immediate, visceral visual storytelling.