Rubens’s Elevation of the Cross embodies the prime example of Baroque art’s dynamism, passionate energy, and the integration of naturalistic depictions into the expression of grandeur and monumentality. The triptych features dramatic contrasts between highlights and shadows (chiaroscuro)—an visible influence from the Renaissance Italian master Caravaggio—which are most effectively used to illuminate the figure of Christ and to convey the emotive and dramatic moment depicted in the painting. Set against the somber backdrop of dark foliage, Christ’s torso is smooth and radiant as if placed directly under sunlight, subtly separating him from the rest of the figures and suggesting at his divine transformation in martyrdom. A similar kind of overexposure is evident on the faces and skin of the women and children in the left panel, highlighting their awe and horror in reaction to Jesus’ crucifixion. The depiction of human body in interlocked, flowing forms is also highly Baroque in character: Rubens shows influence from Michelangelo’s Sistine Chapel Ceiling frescos in his naturalistic portrayal of muscular and robust bodies of the men assisting with the cross’s elevation, suggesting at a meticulous study of human anatomy; furthermore, the bodies’ muscular contortions effectively support the larger pyramidal structure of interlocked human figures in the middle panel, with Christ at the apex. While the pyramidal composition combines freedom and chaos with stability and harmony, the fitting of human forms into a dynamic, voluminous mass captures the instantaneous moment of action and the transcendental, heroic quality it embodies. Last but not least, the color scheme of Ruben’s triptych, consisting primarily of golden flesh tones, rendering the scene with warmth, vitality, and an air of sacredness; while conspicuous blocks of red and blue on garments worn by the figures provide counterpoint and dramatic tension typically seen in Baroque art.