Description: This work establishes Congdon’s return to the theme of the crucifix, which he had suspended in the first half of 1966 (after he executed the large Crucifix 45, Buccinasco, Milano, William G. Congdon Foundation). It is plausible to match Congdon’s resumption of religious iconography with specific events in his life, for example, the death of his brother Gilbert in February of the same year. The mournful character of the painting, dominated by black and gray-violet, is symptomatic of the artist’s mood. Critics are unanimous in recognizing that the dense black that dominates the upper part of the painting helps to accentuate the landscape, which is characteristic of Congdon’s work. The half-length formal structure was also already used in prior crucifixes. The verticality of the cross, the intersection with its horizontal plane, the contrast between the light grey tones and the black densely caked paint in the hair of the reclined head of Christ, are familiar themes but which are particularly present in this painting. Currently not on display.