the cristi project

The proposal of The Third Christ Carrying The Cross Giustiniani marks the beginning of a new chapter, harmonizing with the two original renditions sculpted by the revered artist Michelangelo Buonarroti half a millennium ago.

the third christ carrying

the cross

giustiniani

The sculptor Pablo Damian Cristi has embarked on a monumental project: the creation of The Third Christ Carrying The Cross Giustiniani.

This ambitious project was proposed by Don Jérôme Luc Moneglia d'Giustiniani in 2018. Thus, under the skilled hands of Cristi, the journey of The Third Christ Carrying The Cross Giustiniani begins.

THE IDEAL TRINITY

This visionary pursuit seeks to honour the legacy of the past while forging an unbreakable bond with the present, infusing The Third Christ Carrying The Cross Giustiniani with an ethereal essence that resonates beyond time.

With unwavering dedication, Pablo Damian Cristi embarks on an extraordinary quest to bring the ideal Trinity to completion, breathing life into a sculpture that unites the realms of tradition and innovation in a symphony of divine artistry.

THE PROPOSAL

First Christ of Michelangelo - Cristo Giustiniani, mausoleum of Vincenzo Giustiniani, Bassano Romano.

Second Christ of Michelangelo - Cristo Della Minerva. Santa Maria Sopra Minerva, Rome.

The Third Christ Carrying The Cross Giustiniani - Pablo Damian Cristi - Under Construction.

Don Jerȏme-Luc Moneglia d'Giustiniani

the vision

Don Jérôme Luc Moneglia d'Giustiniani

Prince Jérôme Luc Moneglia d'Giustiniani, the head of one of the 28 most prominent Genoese families, belongs to the Roman aristocracy of Greek descent from Constantinople, now known as Athens, and is a part of its Senate. Don Geronimo Luca oversees the Roman aristocracy throughout Italy. He is the founder of the Genoese Senate and advocates for cultural diplomacy in service to public institutions. Thus, he draws from the historical and artistic traditions of Genoa, encompassing all visual and musical arts, while creating festivals and symposiums.

This cultural role extends not only to the immediate territory of Genoa but also to its historical maritime dominions. Primarily, this includes their family's Greek island of Chios, which the Giustinianis ruled for centuries, as well as Turkey, Corsica, Sicily, and more. The Giustiniani family continues to play a significant civil role in Bolivia's second-largest city, Santa Cruz de la Sierra, across various aspects of public life.

A unique centuries-old tradition of art collectors among the Giustiniani family led them to sponsor Caravaggio and acquire the Cross-bearing Christs by Michelangelo, now known as the Giustiniani. In homage to his profession, Don Jerome Luc requested a third Christ in the concept of the Ideal Trinity.

The presentation of the Plaster Model

Upon assuming responsibility for the Third Christ Carrying the Cross, Giustiniani project, Pablo Damian Cristi embarked on the creation of a life-sized plaster model as an initial materialization. This crucial step aimed to showcase the unique qualities of Pablo's work while establishing a connection with Michelangelo's preceding sculptures.

The Plaster Model of the Third Christ Carrying the Cross, Giustiniani is a testament to Pablo Damian Cristi's creative inspiration and artistic vision. It embodies a departure from traditional representations, presenting a dynamic Christ/Man driven by internal essence and an alternative interpretation of the cross. Through unity and cohesion, this sculpture establishes a deep connection with the preceding Giustiniani Christs while retaining its revolutionary character. The plaster model exemplifies Pablo's sculptural process, characterized by a profound dialogue with the material and an unwavering commitment to his artistic vision.

THE PROCESS

  • In contrast to the static and receptive positions depicted in Michelangelo's sculptures, the plaster model portrays Christ in a predisposed state of action towards the future. Christ is presented as possessing an unstoppable impulse derived from his internal essence, symbolizing the Holy Spirit within the Trinity. Not burdened by matter, this interpretation showcases Christ/Man as an agent of change, rather than a symbol of impending condemnation.

  • The cross, traditionally associated with weight and imminent condemnation, takes on a new significance in the plaster model. It is positioned laterally and slightly behind Christ/Man, emphasizing his strength and projection. This alternative placement connects to the cross's archaic meaning, signifying expansion in space, the four cardinal points, the four elements, the cube, and matter informed by the Holy Spirit—the third element represented by the veil.

  • The plaster model synthesizes all elements into a cohesive whole, underscoring the importance of unity. It establishes a profound connection with the other two Giustiniani Christs, representing the Father and the Son, while revolutionizing the classical representation of Christ carrying the cross. It serves as a testament to Pablo Damian Cristi's creative inspiration and his ability to create a revolutionary unicum within the classical tradition.

  • The plaster model itself becomes emblematic, representing the direct expression of Pablo Damian Cristi's initial concept. It signifies the ongoing dialogue and deep relationship between the sculptor and the material—marble—ultimately destined to be the final medium for the Third Christ Carrying the Cross, Giustiniani. This demonstrates Pablo's artistic process, characterized by a profound understanding of the material's nuances, imperfections, lines of force, tonalities, and densities.

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