El Cristo de San Juan de la Cruz

S. Dali, El Cristo de San Juan de la Cruz, 1951, 205 x 116 cm., �leo sobre lienzo, Art gallery, Glasgow.ESPAÑOL
Posiblemente el cuadro mas famoso y difundido de Dali. Curiosamente la posicion del Cristo no es idea original del pintor, se basa en un cuadro conservado en el Monasterio de la Encarnacian de Av�la realizado por San Juan de la Cruz.
Pertenece a su epoca mistica-clasica que comenzo en los a los 40 y que ha sido criticada por numerosos entendidos acusandola de comercial. Realmente son pinturas con un domino absoluto del dibujo, muy trabajadas y con composiciones esplendidas. Picasso comento en esta epoca de Dali "...el ultimo pintor renacentista que le queda al mundo..", una opinion que compartimos y valoramos.
Ademas del Jesuscristo crucificado, incluye un paisaje de Port-Lligat tan dibujado y estudiado anteriormente, y un espacio casi infinito. El Cristo en si esta incluido en una perspectiva basada en la Ley renacentista de la Divina Proporcion. Esta situacion, la eliminacion de cualquier elemento dramatico -sangre, heridas, dolor-, y la plasmacian de la serenidad, hace que el Cristo proyecte su presencia sobre toda la tierra.

ENGLISH
Perhaps this is the most famous of Dal�s religious paintings. Curiously, Christ�s position isn�t the artist�s original idea, but he based his inspiration on a picture kept in the Encarnaci�n Monastery in Avila, which was painted by Saint John of the Cross.
This picture belongs to Dal�'s mystic-classical age that began in the 40's and it has been critized by a many in the know, for its commercial intent. His paintings were carried out with absolute mastery of drawing, very thought out and with marvellous compositions. Picasso said of this period of Dal�s: "...the only Renaissance painter left in the world...", an opinion we share and value.
In addition to crucified Jesus Christ, the picture includes a landscape of Port-Lligat, very illustrated, previously studied and in an almost infinite space. The perspective of Christ himself is based on the Renaissance Law of Divine Proportion. This positioning, together with the removal of any dramatic subject - blood, wounds, pain - and shape of serenity make Christ project his presence all over the earth.