This work of art gets its name from the way that it is planned, dependent on a drawing by the sixteenth-century Spanish minister John of the Cross. This work of art comprises a triangle, which is framed by the arms of Christ and the even of the cross. And a circle, which is shaped by the head of Christ. The triangle could be viewed as a source of perspective to the Holy Trinity, while the circle may speak to solidarity. Although this is a portrayal of the torturous killing, there are no nails or blood. As per Dali himself, the motivation for this artistic creation came to him in a fantasy, in which he was persuaded that delineating nails and blood would deface his depiction of Christ. This is viewed as extraordinary compared to other strict artworks of the twentieth century.
It is by a long shot. The most religious of all Dali's strict works is beyond question his 'Christ of Saint John of the Cross,' whose figure commands the Bay of Port Lligat. The composition was enlivened by a drawing, safeguarded in the Convent of the Incarnation in Avila, Spain, and done by Saint John of the Cross himself after he had seen this vision of Christ during happiness. The individuals next to the vessel are gotten from an image by Le Nain and from a drawing by Diego Velazquez for The Surrender of Breda.
This work was viewed as trite by a significant artistry pundit when it was first displayed in London. Quite a long while later, it was sliced by a fan while it was hanging in Glasgow Museum, evidence of its shocking impact on individuals.