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How Caravaggio, Dali and other great artists portrayed the Passion of Christ in their paintings
How Caravaggio, Dali and other great artists portrayed the Passion of Christ in their paintings

Video: How Caravaggio, Dali and other great artists portrayed the Passion of Christ in their paintings

Video: How Caravaggio, Dali and other great artists portrayed the Passion of Christ in their paintings
Video: When Experts Studied This Van Gogh Painting, They Found A Surprising Secret Hidden In The Detail - YouTube 2024, November
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Jesus Christ is perhaps the most famous figure that has existed in the history of mankind. Many painters and sculptors tried to capture his images. A number of masters wanted this in order to elevate their spirituality, while others wanted to inspire followers of Christ by creating a visual connection with him. Regardless of intent, history has shown that many great artists have created visually striking and timeless works of art based on the Passion of Christ. It is these plots that will be discussed in the material.

The story of the events of the last week of Christ on earth (The Passion of Christ) was a popular subject in Italian painting. Unlike the stories associated with the birth of Christ, the episodes of the Passion are colored with darker, painful emotions (guilt, pity, grief). The artists strove to convey the whole gamut of complex and long-suffering feelings. By the way, by this they also supported the work of theologians, who urged believers to identify themselves with Christ in His suffering, so that they could also share His exaltation. According to the Gospel, Christ's death took place in Jerusalem, where he went to celebrate Easter with his disciples. In this regard, it is worth considering first the plots of the Last Supper.

"The Last Supper" by Ugolino da Nerio

Ugolino di Nerio "The Last Supper" Metropolitan Museum of Art, New York
Ugolino di Nerio "The Last Supper" Metropolitan Museum of Art, New York

The Italian artist Ugolino da Nerio created a whole cycle of works about the Passion of Christ. Here is his "Last Supper", at which Christ broke bread and shared wine in anticipation of his death, and thus established the Christian ritual of communion. The predella panel shows a table parallel to the plane of the sky. Behind him are the students, located along two long sides. On the far left is Christ. The perspective reflects a clear and rhythmic representation of food on the table, as well as the characteristic faces and gestures of each student. The image is full of the sacramentality of the future event.

"Betrayal of Christ" by Bartolomeo di Tommaso

Bartolomeo di Tommaso "Betrayal of Christ" Italy, before 1425
Bartolomeo di Tommaso "Betrayal of Christ" Italy, before 1425

"The Betrayal of Christ" is one of the most dramatic moments in the Passion story. The version written by Bartolomeo di Tommaso on the predella panel shows a disturbing mixture of gentleness and cruelty in the episode when Judas, a disciple of Jesus, greets him with a kiss and then betrays him to a gang of armed men.

"Christ Carrying the Cross" El Greco

"Christ Carrying the Cross" by El Greco, 1578
"Christ Carrying the Cross" by El Greco, 1578

"Christ Carrying the Cross" is a famous painting by El Greco, which depicts Jesus Christ with a crown of thorns on his head. He bears the cross on which he will later die and be resurrected. Jesus Christ is depicted without pain and suffering, which makes this work of art truly transcendental. In this picture, El Greco hoped to convey the otherworldly love of Jesus Christ, and not the pain that he is experiencing. Jesus Christ looks up in this picture, showing that his thoughts are focused on higher images. Technically, El Greco demonstrated his flawless use of muted colors and sheer mastery of mannerism with his canvas.

The Crucifixion by Pietro Lorenzetti

Pietro Lorenzetti "The Crucifixion" fresco. 1320 Church of San Francesco, Assisi
Pietro Lorenzetti "The Crucifixion" fresco. 1320 Church of San Francesco, Assisi

The climax of the Passion story is the Crucifixion itself. Paintings on this theme were intended to stimulate reflection on the self-sacrifice of Christ. The plot demonstrates the full power of suffering. The figure of Christ is rarely distorted, and his naked body is often idealized and based more on classical concepts. The cross can surround many other figures, which are often distinguished by their expressiveness. On the small altar of Pietro Lorenzetti, Christ is crucified between two other characters. The Virgin Mary in the foreground loses consciousness, and many figures (some in oriental robes, others in Roman armor) gaze intently and insensibly at Christ.

"Christ of Saint John of the Cross" Salvador Dali

"Christ of Saint John of the Cross", Salvador Dali (1950-1952)
"Christ of Saint John of the Cross", Salvador Dali (1950-1952)

Salvador Dali was known for his modern, surreal approach to art. “Christ of Saint John of the Cross” is no exception. However, despite the curious interpretation of the plot by Salvador Dali, the viewer will find that the message of "Christ of Saint John of the Cross" is extremely similar to the message of the paintings of the Renaissance. The pathos and drama of the image are timeless. This famous work of modern art depicts Jesus Christ on an abstract cross, emphasizing the fact that it is not the cross itself that is important, but the person. Salvador Dali argued that the picture appeared to him in a dream and was supposed to represent the core, which was Christ.

"Christ on the Cross" Velazquez Diego

"Christ on the Cross" by Velazquez Diego, 1632
"Christ on the Cross" by Velazquez Diego, 1632

"Christ on the Cross" is Velazquez's deep and transcendental view of the last moments of the life of Jesus Christ before his rebirth. Jesus Christ is depicted on a cross over a bottomless black space. The image of the crucified Christ allows the viewer to contemplate this moment without any distractions or additions. The memorable minimalism of the work emphasizes a specific moment in the plot that requires concentration, reflection and solitude. There is no one in the picture except Jesus Christ himself. He was left alone with the sin of humanity. However, the golden glow right above his head suggests a quick Resurrection.

The Crucifixion by Fra Angelico

"Crucifixion" approx. 1420, Fra Angelico
"Crucifixion" approx. 1420, Fra Angelico

Fra Angelico's small panel from 1420 at first glance includes many elements and figures, but places them in a more methodically constructed space. This transformation in painting reflects a whole shift and also fills the scene with heightened reality. In addition, Fra Angelico amplifies the emotional responses of the figures around the single cross of Christ. Here the Virgin Mary falls to the ground, St. John tightly squeezes his hands, and the angels mourn the golden earth and heaven. The semicircle of the audience reflects the posture of indifference, pity, or surprise.

"Kiss of Judas" and other works by Caravaggio

"The Kiss of Judas" by Caravaggio, c. 1602
"The Kiss of Judas" by Caravaggio, c. 1602

Caravaggio is known for his dramatic realism (he used working-class people with plebeian faces and dirty feet as models), as well as his equally intense and theatrical lighting and compositions. By the way, the religious works of Caravaggio became the basis of Mel Gibson's film The Passion of the Christ. Caravaggio's work inspired the film, both in terms of the faces he used in these paintings and in terms of chiaroscuro. There are many works devoted to the subject of the Passion of Christ. For example, the work "Kiss of Judas". Caravaggio wrote it for the Roman Marquis Ciriaco Mattei in 1602. Offering a new visual approach to the biblical story, Caravaggio placed the figures very close to the plane of the painting and used the strong contrast of light and dark, giving this scene an extraordinary drama. The canvas has all the features characteristic of the great works of the author: an emotional plot, tenebrism, expressiveness of figures combined with a spiritual dimension and magnificent details.

Caravaggio's "Entombment" (1603) / "The Flagellation of Christ" 1607
Caravaggio's "Entombment" (1603) / "The Flagellation of Christ" 1607

Thus, various versions of the painters about the gospel history of the Passion of Christ were considered. The artists used different techniques, styles, many reflected their individual vision of a religious theme. But all versions are the same in their message for humanity - relief follows every burden.

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