An extraordinary art discovery has stunned the cultural world as a long-lost painting by Peter Paul Rubens (1577-1640) has been found in the former mansion of French academic painter William-Adolphe Bouguereau in Paris's prestigious 6th arrondissement. The masterpiece, titled "Christ on the Cross" and dating from 1614-1615, was discovered by auction house Osenat nearly two centuries after Bouguereau acquired it between 1860 and 1880, either by the painter himself or his daughter, who was an avid art collector.
The painting depicts a crucified Christ against a stormy sky, his eyes lowered and almost closed, with a gaping wound on his right side. Dramatically positioned in the upper left corner, the moon eclipses the sun, while Jerusalem unfolds in the background. This is not the only crucifixion scene created by Rubens, who portrayed Jesus sometimes alive and sometimes dead on the cross throughout his career. The fame of certain images, widely distributed as copies and engravings, may explain why this particular work remained unrecognized for so long.
The attribution and dating of this "Christ on the Cross" relied primarily on an engraving by Lucas Vorsterman I (1595-1675), who did not enjoy Rubens' favor. In his correspondence, the Flemish master expressed frustration with the liberties the engraver freely took in his work. The painting had been presumed lost in the catalog raisonné (1886-1892) compiled by Belgian curator Max Rooses.
The reproduction from 1622-1624 differs in several aspects from Rubens' original composition, which helps explain the confusion. Vorsterman independently chose to represent Christ as living with open eyes, crowned the figure with a crown of thorns, decided whether to include the wound on the right side, transcribed the Latin portion of the titulus on two lines instead of three, and made an error in the Greek inscription. It would be difficult to believe that Rubens would have tolerated such inaccuracies in his work.
The discovery of this 41.3 x 28.5 inch panel prompted extensive study of both the engraving and the pictorial material. Until now, no one had noticed the PPR monogram hidden under the cross in Vorsterman's print, a crucial clue that clearly attests to Rubens' authorship. This observation is credited to Belgian art historian Brecht Vanoppen, who participated in research conducted by the Rubenianum, an organization located near the former house-workshop of the Flemish master in Antwerp.
Examinations conducted by Catherine Polnecq definitively confirm the attribution of the panel to Rubens. Infrared reflectography reveals contours drawn with oil paint, typical of the artist who did not create preparatory drawings in the strict sense. This same scientific technique reveals that Christ's figure was executed first, while the detailed background was completed later, possibly by the Flemish master's assistants.
Radiography, though complicated by the wood backing of the work, shows evidence of pentimenti or artistic changes: Jesus's arms, for example, were initially more spread apart, and his torso was shifted from left to right. These modifications suggest this is a prototype, as such marks of hesitation are rare in copies. The presence of these changes indicates the artist's creative process and supports the work's authenticity.
The monetary value of this rediscovered masterpiece remains uncertain, with estimates ranging from 1 to 2 million euros. The true worth will be determined on November 30, when the painting goes up for auction in Versailles at 13, avenue de Saint-Cloud. For comparison, a Rubens Annunciation, an oil sketch of smaller format, sold for $4.8 million at Sotheby's New York in February of this year, providing some context for the potential value of this significant discovery.
