La representación de Cristo en la pintura

Andrea Mantegna: Lamentation of Christ
1474 aprox.
68 x 81 cm

Andrea Mantegna – Cristo Muerto

The “Quattrocento” was a time of great productivity during the Renaissance. Boticelli, Leonardo Da Vinci and other masters were in the height of their creativity. Andrea Montegna was also one of the painters that stood out during this period. His work Lamentation of Christ made an impact for his earthly representation of the Messiah. In the composition, away from the symbolism with what the divinity was portrayed on that time. Jesus appears from an unusual perpective: laid down over a marble base. His body, diformed by the use of foreshortening, emphasizes the dramatism of the scene. The narrative used by Mantegna presents the son of God moments before he was buried; his features, puttrefied and rotted, make a strong impression in the audience.

Hieronymus Bosch: Christ Carrying the Cross
1498 aprox.
142,5 x 104,5 cm

Hieronymus Bosch - Cristo con la Cruz a cuestas

The scene that portrays the passion of Christ was also painted by Bosch. His image looks at the observer in an interpellation to the suffering that experiences while he carries the cross. In spite of the violene that the story portrays manifested in the image of the executioner that wips the martyr. The image expel a venerable and composed air. In the background of the work are located the Virgin Mary and Saint Johnm while in the skyline the enclosed city of Jerusalem watches in silence. The diversity and thoroughness with what theb characters are portrayed, the movement that denotes the clothing of each one of them and the landscape of the cloudless skies show Jesus as the redeemer of the humankind and their sins.

Caravaggio: Ecce Homo (Behold the Man)
1604 aprox.
128 x 103 cm

Caravaggio – Ecce Homo

The Ecce Homo (Behold the Man) is an usual topic of the christian symbology that narrates the moment when Jesus is presented to the people after being tortured. Caravaggio, master of the chiaroscuro, painted an scene that focused the atention in Jesus, locating him aside from his executioners (Pontius Pilate and the warden). The image is made in susch a way the audiencie have to observe it as a judge of the doom’s fate, as if it was a public assembly.

Velázquez: Christ Crucified
1614
250 cm × 170 cm

Velázquez - Cristo crucificado

The step that led Velazquez to Italy influenced the Spanish artist. Was in the Italian Peninsula where he learned from the great masters how to create a finished portrait of the human anatomy, naked and covered in clothes. A characteristic of the baroque art is to move and appeal to the emotions of the audience. In the pieces this is achieved by portraying the image of Jesus in the cross over a neutral background, which centers the attention in the image of the mesiah without the distraction that a tale of the scene or event may represent.

Gauguin: The Yellow Christ
1889 aprox.
92 x 73 cm

Gauguin - El Cristo amarillo

It is believed that Gauguin was inspired by the image of a romanesque and popular Christ for the creation of this piece. With the use of the “cloisonne”. A technique of honeycombed varnish, the artist highlighted the yellow and autumnal tones, aside from the edges that give form to the images. The desire for an art less academic and more primitive can be seen in the shadowless images presented in the painting. The three devoted women that are observing the crucifixion contrast with the individual that is jumping a fence in the background of the painting, in a possible methaphor of the breakout that hunted Gauguin in his work.

Salvador Dalí: Christ of Saint John of the Cross
1951
205 x 116 cm

Salvador Dalí - Cristo de San Juan de la Cruz

The surrealistic Salvador Dalí portrayed the oneiric states of mind under the esthetic that reminds the realism to which the clasic painters aspire to. The difference lies in the elements that sorrounds the scenes of his works. This composition shows Jesus from the divine ecstasy. The physical suffering of the son ogf God can be seen in the glimmer of movements that he makes in the cross. It really draws the attention the perspective used to represent the crucifixion and the atmosphere of peace that covers the piece.

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