Pay attention to how different this style is from the famous “Descent from the Cross” written a decade earlier.
Note, however, that in “Drinking” and “Taking off the Cross” the master pursues the same goal – to achieve the ultimate “emotional distinctness” of the depicted scene.
But if in the “Drink” Rogier goes to this goal by piling and colliding the details, then in “Removing the Cross”, on the contrary, minimizes all “background details” in order to sharpen the viewer’s attention to the main action.
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