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Jesus Falling Beneath the Cross

After Gustave Doré
Available
SERIES
YEAR
2022–2025
MEDIUM
Carved wood, selectively coated with 24 karat gold, and gold metallic leaves
DIMENSIONS
200 × 250 cm (79 × 98 in)
“And they compel one Simon a Cyrenian, who passed by, coming out of the country, the father of Alexander and Rufus, to bear his cross.”
Mark 15:21
Price$172,000
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Jesus Falling Beneath the Cross by Amnon Moalem, Carved wood, selectively coated with 24 karat gold, and gold metallic leaves

About

This Work

Jesus Falling Beneath the Cross, wood engraving by Gustave Doré

Jesus Falling Beneath the Cross. Gustave Doré, 19th century.

Of all the stations of the Via Dolorosa, this is the one that insists on the body — on weight, on exhaustion, on a man who cannot carry what he has been given to carry. Gustave Doré’s engraving crowds the frame with onlookers; Amnon’s carved wood interpretation, two and a half meters in height, lets the wood itself register the strain. The 24 karat gold and gold metallic leaves fall where the composition needs light, and leave the rest to the grain and the shadow.

Art Built to Last for Centuries

Wood Carving

In the carved wooden works, the initial preparation may involve CNC technology to establish the primary structure and composition. Amnon then continues through extensive manual carving, refinement, and surface work. The balance between technological preparation and handwork varies according to the scale, subject, and requirements of each piece.

Cast-Epoxy

Epoxy resin is used in selected works as an independent material or in combination with carved wood. Its role differs from one piece to another and may include structural, visual, translucent, or surface-related functions.

Gold, Silver & Copper Leaves

The gilding stage is the final and most demanding phase. Metallic leaves, 24 Karat gold, silver, and copper, are applied by hand, sheet by sheet, to the finished surface. The technique is ancient, used for centuries to adorn relics, altarpieces, and sacred objects. In Amnon's work it serves the same purpose: to signal that what you are looking at is not ordinary.

How a Monumental

Work Is Made

Source, Research & Interpretation

Most works begin with a close study of a well-known artwork or engraving. Amnon develops a personal interpretation through material, technique, scale, composition, and surface treatment.

Planning & Digital Preparation

The composition, scale, and proportions are prepared for production. In carved wooden works, this stage may include CNC-assisted preparation before the manual carving process begins.

Manual Carving & Refinement

Following the initial preparation, Amnon performs extensive manual carving and refinement, developing the surfaces, forms, and details of the work.

Casting & Integration

In works that include cast-epoxy, the cast elements are produced and integrated according to the specific material and compositional requirements of the piece.

Surface Preparation

The combined structure is prepared for gilding: smoothed, sealed, and given a base that will hold the metallic leaves.

Gilding

Gold, silver, and copper leaves are applied by hand, one sheet at a time. A large-scale work can require weeks of gilding alone.

Documentation

Each completed work is photographed professionally, measured precisely, and documented for the collector’s record.

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