This crucifixion scene, which was Goya's submission to the Royal Academy, reveals his shrewd business instincts, and the lengths to which eh was prepared to go in order to secure his future. It effectively combined the achievements of Spain's greatest painter, Velazquez, with the acclaimed style of Goya's most distinguished contemporary, Anton Mengs. Through this assimilation of styles, Goya hoped to win approval of the academicians and attract the interest of potential patrons. However, Goya's crucifixion does not compare well with its model, Velazquez' great work. There is something distasteful in the contrast between Velazquez' portrayal of Christ as the object of contemplation and devotion, and Goya's dramatic creation, which, though beautifully painted, was executed as a showpiece." – Patricia Wright, Eyewitness Art: Goya, page 16, Dorling Kindersley Books, 1993

It is without doubt the worst painting he ever did. - Robert Hughes, from his book Goya, page 99

In compensation for his work [at the Royal Tapestry Factory], Goya was elected a member of the Royal Academy of Fine Arts of San Fernando. In accordance with its rules, he presented to the Academy the painting Crucifixion, a work that unjustly earned abundant adverse criticism. Actually, Goya had intended to create a work strictly within academic canons, and had made use of an example by Bayeu, itself a servile transcription of a Mengs Crucifixion. However, even in this effort Goya not only surpassed those who were, academically speaking, his acknowledged masters, but he successfully added an original expressiveness to the head of Christ, in perfect accord with the best of his own style. – José Gudiol, Goya, published by Abrams 1985, pages 16-17