Pre-Resurrection: The Movements of Christ

Christ’s life was full of interesting moments and spectacular events. From the ascension to resurrection, artists have depicted the many marvelous stages of the Son of Man, but those moments were not all positive. Christ was scourged, mocked, crucified, and buried. Representations of these unfortunate moments are among the most popular pieces in art history, and curiosity drives one to ask why the pain of Christ was so often the focus.
The moments before Christ’s resurrection are so crucial in the Gospel story. If this pain, this humiliation and aggravation, did not happen, the story would be moot. Peter Paul Rubens is among the top painters who succeeded in portraying these critical moments in a very compelling manner. His use of tennebrism, composition, and detail of facial expressions infuse his paintings with movement Rubens asks the viewer to step in and take part in the unfolding narrative. Juxtapose these presentations with those of Edouard Manet, painter of realist and expressionistic social scenes, and one is forced to ask another question. Why are Edouard Manet’s only two religious paintings of the mocking of Christ, and a dead Christ? Was he, too, compelled by the story? If so, why were his paintings treated so differently, and with what seems like almost careless detail? Perhaps Manet was striving to show the viewer what he saw in the story. Manet’s goal, as opposed to Rubens’, was to expose the viewer to the discomfort and monumentality of these critical moments in Christ’s life.

Edouard Manet, Christ Mocked by the Soldiers, 1865

Oil on canvas, Art Institute of Chicago

This is Edouard Manet’s second religious painting, strong in composition with Christ as the center. The awkwardness of Christ’s posture draws attention to the discomfort of the moment. Soldiers with mean and condescending expressions crowd around Christ, pressing the composition in. Yet, Christ’s eyes look upward to His Father for escape from the soldiers as the viewer looks and achieves escape from the tight composition. The manner in which the paint is applied, thick in layers and in line, also directs one toward the clumsiness of the soldiers’ poking and prodding at the Son of God. Christ’s body is also rendered clumsily, and lacks the idealistic quality so often portrayed in religious paintings. This too points towards Manet’s goal of discomfort of the viewer.

Peter Paul Rubens, Descent from the Cross, 1612-13 

Oil on Panel, National Museum in Warsaw

In this piece, Rubens’ invitation to step in and take part of the story is evident through composition created through placement, light, and color. Christ’s body seems as though it could tumble down at any moment, and the viewer would need to reach out and help. Bright pops of color and emergence of light figures from a dark background create a strong diagonal, adding to the slippery reaction to this painting.

Peter Paul Rubens, The Entombment, 1612

Oil on canvas, The Getty Museum

This painting is gruesome, yet beautiful. The way Christ’s sickly-colored body limply, heavily rests on the arms of his companions draws attention to the weight of this moment, and results in another strong diagonal composition. The rendering of His muscles, the soft light that falls on the face of the distraught women create a compelling piece. While sadness and compassion overflow in this painting, the discomfort does not, and attention shifts to what those around Christ are feeling.

Peter Paul Rubens, Lamentation Over Dead Christ, 1613-14

Oil on panel, Vienna Museum

A similar scene to that of The Entombment emerges from Rubens once again. Christ is now surrounded by many others, laid and caressed in his tomb. The viewer enters at the top left corner and from there, feels like one of the mourners, in view of Christ’s body and the expressions of Christ’s companions. Instead of feeling uncomfortable and anxious, the viewer is saddened and empathetic, perhaps longing to reach out and comfort the mourners.

Edouard Manet, Dead Christ With Angels, 1864

Oil on canvas, MET Museum, 29.100.51

Manet’s depiction of the dead Christ caused much discomfort in the world of art when first revealed. It is clumsily rendered, sickly in color, and the wound is on the wrong side. This Christ is very much dead, and that made people uncomfortable. Christ is also the center of this composition as well as a glowing light source, forcing the viewer to focus on Him. The angels hold Him, not only mourning this moment, but also contemplating it with thoughtful expression. Christ’s body is not idealized, and His wounds emphasize his mortality, causing the viewer’s discomfort while the focus on Christ asks the viewer to think deeply about this moment in history.