The firm is incised in the paint, probably made with the tip of the brush handle leveraging paint still tender, in the words of Blanca Pons-Sorolla, was a common technique in the early days of the painter. The work was mentioned by Bernardino de Pantorba in 1953 and certified by Francisco Pons-Sorolla in 1973. From that date his whereabouts are unknown until recently been discovered to be studied and cataloged by Gemma Avinyó Ximo Company and the University of Lleida with the collaboration, supervision and counseling Blanca Pons Sorolla. This painting was almost certainly made in Valencia, in his youth, later given to Dona Clotilde del Castillo, Antonio García wife, friend and protector of Sorolla, who would become his inlaws years later. It would not be the only work that would give Dona Sorolla Clotilde, we also have the painting of "The Virgin Mary", signed and dedicated, preserved in the Museum of Fine Arts in Valencia. Fine important work of high value whose uniqueness is given by the lack of religious painting in the long and prolific career of Sorolla. The work presented here shows the figure of Christ crucified with his head tilted to the right, with a suffering content in the face and eyes turned skyward, touching the viewer. It is represented on a dark background, the Baroque style of the great master Diego Velázquez, which Sorolla admired and copied (see "Copying the torso of Christ of Velázquez", oil on canvas, 76 x 50 cm, now in private collection) where Sorolla performed an anatomical study of a male body and the work we list. On the occasion of Nations Exhibition of Fine Arts, Sorolla is in his works like academic affairs, ie painting religious or historical content as landscapes were considered "minor" genres. In this line would be the work presented in 1883 at the Regional Exhibition of Valencia "Nun in prayer" (preserved in the art collection box Ahorros de Valencia) work very comparable, year and the technique presented, with the which won the Gold Medal. Special mention must be made to the work presented at the National Exhibition in 1887, "Burial of Christ" (1885-1887), a huge canvas 430 x 685 cm, transcendent issue with large realistic features, where a funeral procession, a work that was partially destroyed and which fragments are preserved in the Museo Sorolla in Madrid shown. Therefore, in addition to an important religious canvas, this "study of Christ" can be considered a major academic study in which Sorolla began to introduce an obvious concern for light, and light with a loose brushstrokes as seen also in the "The good thief crucified or" made in 1885, and that will characterize his later career. Clotilde García del Castillo (Suegra painter: a comprehensive study of the work where both technical and formal aspects of the work (.. Ximo Company and Gemma Avinyó, Joaquín Sorolla Study of Christ, Lleida CMEA 2013) Origin are treated is attached ), Sorolla gift-for offspring Enriqueta García del Castillo-for-Stock offspring Antonio Moscardó Particular, Madrid Bibliography: -Bernardino of Pantorba, The life and works of Joaquín Sorolla. Biographical and critical study, Ed. Mayfe, Madrid 1953, p. 168, No. 1149 -Ximo Company and Gemma Avinyó, Joaquín Sorolla. Study of Christ, Lleida. CAEM 2013 -Blanca Pons Sorolla. Included in the Catalogue Raisonné of Joaquín Sorolla, in preparation. PLAYED IN PRESS (selection): - The Country. "Experts from the University of Lleida identify a Sorolla". May 8, 2012, p. 5. - ABC. "Discover the Study of Christ Sorolla". May 8, 2012, p. 10. - The Gazette. "The University of Lleida identifies an unpublished work by Joaquin Sorolla". May 8, 2012, p. 10. - The Reason. "The University of Lleida discovers an unprecedented religious work of Sorolla". May 8, 2012, p. 6. - The World. "They discover an unpublished Christ of Joaquin Sorolla". May 8, 2012, p. 27.