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The formal relationship which artistic historiography has always perceived between the now-lost Christ on the Cross of the Madrid Church of Gracia and the Christ of the Foresaken in Escurial has allowed us, once the Christ of Gracia was validated as the work of Luis Salvador Carmona as from the Compendium of 1775, to conclude the long series of attributions of the sculptor of Escurial. Furthermore, he can also be proposed as the author of this work, taking into consideration its documented Madrid origin. It forms a pair with an image of Our Lady of Sorrow of the same date, 1730-1732, which the artist carved together with the Crucifix when he was still employed in the workshop of his master Juan Alonso Villabrille y Ron. This early but little known stage of his career accounts for the three works mentioned. The sculptures of Christ also correspond to the sculptural model of the living Christ on the Cross which is so uncommon in Carmona’s work.

Dos atribuciones de obras tempranas al escultor Luis Salvador Carmona: la Dolorosa y el Cristo del Desamparo de Escurial (1730-1732) (Cáceres)