The passions of Christ in classical and modern art
Bible history is one of the foundations of classical art, opening an almost unlimited field for the artist to reflect on the design of the world and the place of man in it. It is clear that the most dramatic part of the New Testament, which speaks of the suffering of Christ, his death on the cross, and his resurrection, has a special place in the series of Bible stories. What’s interesting is trying to figure out exactly what artists and viewers are trying to find here.
The film from A. Tarkovsky’s «Stalker». 1979
The classic culture was based on the Triad of Truth-Beauty, Art and Religion, naturally united in seeking answers to questions about the meaning of existence, to which philosophy had taken seriously. However, in today’s secular world, which has gone through the process of «filming» and «opium for the people», it is much more difficult to maintain this link. Today’s painter rarely refers directly to Christ’s image by speaking directly about human dignity, humility, or mercy. Rather, the artist will choose the path to be followed by referring to certain elements of the iconography associated with Bible history.
The film from A. Tarkovsky’s «Stalker». 1979
A geek stacker in despair tells his wife how to show people the way to the Zone over and over again, where they can find happiness and salvation, but it’s useless because they don’t believe in anything!And Gorčakov, who hasn’t found a place for so many years and finally believes in something, takes over the ritual of carrying out a burning candle from one side of the bathing suit to the other. And a few times it’s embarrassing to see if anyone’s watching him. Like the audience, he needs time to believe.
Working with Bible stories as such is not an easy task. In the field of modern art after Philosophy, the artist needs, on the one hand, to be tactful and sensitive in speaking of sacred and, on the other hand, to maintain an intellectual distance to what is actually a matter of faith, that is, a non-critical conviction. Few authors have managed to maintain this delicate balance.
Bill Viola. The Martyrs in St. Paul’s Cathedral. 2014
Bill Viola. The video from Katerina’s Room. 2001
However, in the case of Bill Viola, one of the few craftsmen who is highly valued by believers and art critics, it is not only in the noble form that he gives to his video works (approaching them to classical paintings) but also the special state of calm vision that they communicate to the audience.
Bill Viola. Video footage from «Emerging». 2002
The story of Fear is certainly the most tense and difficult part of the newfound history. We see Christ being betrayed by his disciples, soldiers taking him into custody, tormenting him, insulting him, trying to break him. However, he remains steadfast, sacrificing himself in the name of those in need of salvation. He’s overpowering everything, and he’s trampling on death itself. This story is equally full of pain and greatness. Therefore, the visual language used by the artist must reflect this depth.
Piero della Francesca. Resurrection. 1463
The cycle of Fear begins from the entrance of the LORD to Jerusalem, and ends with the resurrection, and, behold, a great earthquake has been made; for the angel of the LORD cometh down from heaven, and cometh down, and pulleth away the stone from the door of the coffin, and siteth on it… saying, Do not be afraid, for I know that you seek Jesus the crucified; he is not here; he is raised up, as he said.
In both the Middle Ages and the classical era, the story of the last days of Christ’s life and his return was a whole. And even though the believer was more likely to see frightening images of flour on the walls of the altar or on the fresco — covered walls of the temple, he knew that Easter was behind the Good Seven, as spring came after winter.
Mattias Grunewald. Isengeima altar. Okay. 1512-1516 (fragments: Christ’s mourning and Resurrection)
However, twenty-first-century artists tend to see only the first part of this story. For someone who’s been through World War I like Otto Deeks, it’s as if only the first piece of the altar has always been discovered.
Mattias Grunewald. Isengeima altar. Okay. 1512-1516 (fragment)
In 1932, Deeks wrote a picture of War, using the shape of a medieval altar to remind us of the sound of guns and the bursting light gas — on the eve of a new war. «The bottom of the painting is calm. The lives of soldiers are no longer in danger. What’s dead can’t be killed. Their eyelids are closed, they’re in deep sleep forever. The strong breasts are still, and the heart will never be broken again. The brave warriors were pressed side by side, and they were to lie forever in their brother’s grave. On the right side of the painting, everything ended as it should have been. The bodies will forever lie on an empty field, without the past and without the future. A soldier carries a wounded comrade, being bravely tired. From that moment on, he’s only got one today. And today is eternity.» [1].
Otto Deeks. War. 1932 (fragment)
Georges Ruo. Christ’s curse. 1923 Georg Baselitz. Head. 1986
Artists sometimes write the image of Christ in the most expressive manner possible, as if it were the very surface of the paper, the canvas, the body of the artist, the soul of an spectator who could not turn away and forget.
Rudolf Schwartzögler. Second action. 1965 Bruce Herman. Holy head. 1994
Jean Fotier. The hostage’s head. 1943-1944
Pain and guilt become insufferable, and human suffering cannot be separated from the destruction of the entire world. It is the human, personal beginning in the image of Christ that becomes the most important thing for artists.
The film from Martin Scorsese’s «The Last Temptation of Christ». 1988 Julian Grayter. It’s to the autoportrait. 1987 (this painting became the cover of the soundtrack for the Scorsese film)
Nikolai Gae. Crucifixion. 1892 (fragment)
«Ge, like many of the Russian intellectuals, was in fact not a Christian believer. The whole building of Christian dogmas about Sunday (…) was perceived by them with their heads rather than their hearts,» wrote the Doctor of Art, Gleb Poppel. [2]
Christ in the garden of Gethsiman. Nikolai Gae. 1869-1880 (fragment)
In Christ’s image, the artist seeks an answer to the question of how it is possible with humility to endure suffering. How to preserve yourself and faith at a time of trial. And when he came to the place, he said unto them, Pray, lest ye fall into temptation. And he went away from them to the rope of the stone, and kneeled down, and prayed, saying, Father!Would that You had pleased to pass this cup by me. It is not my will, but it is yours. Then there came unto him an angel from heaven, and strengthened him. And when he was in the struggle, he prayed with more diligence, and he was sweating like drops of blood falling on the ground. When he rose up from prayer, he came to the disciples, and found them sleeping out of grief, and said to them, «What are you sleeping for?» Stand up and pray that you do not fall into temptation. Lc. 22:40–46.
Arent de Gelder. Christ in the garden of Gethsiman. Okay. 1715.
Rembrandt. A prayer for a cup (an angel comforts Christ). 1657
The perception of «heart» does not mean sentimentality. On the contrary, we can say that in Christian art we are more likely to see examples of clear vision and deep understanding of Bible images. The artist doesn’t turn his back on the scenes of Fear, he looks at them «stamping his heart» and realizes that they’re talking about something not as far away from us as they may seem.
Peter Bragel. Crusade of the cross. 1564
As we look at the paintings of the classical era, we see that the storyteller was important to the artists, and the way of Christ is presented in detail, with many details that bring the Bible text back to life. The painter does not buy the colourful details, he bravely builds on his understanding of the human nature that has hardly changed since Christ the century passed.
Jerome Bosch. Crusade of the cross. Between 1490-1510 (left) and 1510 and 1537 (right)
The author is unknown. The scene of Christ’s ridicule and Mrs. Marie’s illustrious manuscript. Okay. 1280 Jean Le Noir (?) The scene of Christ’s laughing at the Duke of Berri. 1375.
At the same time, it is important to remember that Bible images in European paintings, as in Orthodox iconics, serve primarily as a basis for prayerful consideration and meditation. They are, therefore, sometimes of a very modest, concise nature. It’s not a story anymore, it’s a logo, a visual support for a mystical vision.
Fra Angelico. Christ’s laughter. Fresca at the San Domenico Monastery in Fiezole. Okay. 1437-1446 (fragment)
Fra Angelico. Christ’s laughter. Fresca at the San Domenico Monastery in Fiezole. Okay. 1437-1446
The scenes of passion and the torment of the Son of man express the maximum suffering that man can endure. Maybe you should find strength, lean on faith, overcome doubt. Mathematician Igor Shafarevich once said about Tarkovsky’s film «Andray Rubliv»: «I was struck by the image of darkness, dirt, damage and cruelty that he painted. In such a life, the Rublav phenomenon would be impossible and meaningless. And this is an era of great artists and saints: where did they come from?»
Andrei ruble (?) Saved the All-powerful from Zvenigorodsky. Okay. 1410 Alexander Solonitsin and Andrei Tarkovsky on the film «Andray Rubblev». 1966
I suppose the same can be said of the Fears of Christ, the images of the martyrs' lives: darkness, mud, pain, the damage of man, where does the miracle come from? And that’s where the miracle happens. And when Jesus lay in his house, his disciples and many moths and sinners sat down with him: for there were many of them, and they followed him. The bookmakers and the Pharisees, when they saw that he was eating with soaps and sinners, said to his disciples, «How does he eat and drink with soaps and sinners?» When Jesus heard this, he said to them, «The healthy have no need for a doctor, but the sick; I have come to call not the righteous, but the sinners to repentance.» Mk 2: 15-17
Andrei ruble (?) Saved the All-powerful from Zvenigorodsky. Okay. 1410 (fragment)
Otto Deeks. War / El Resources of the Museums of Peace: https://muzei-mira.com/kartini_germania/3099-vojna-otto-diks.html — https://www.pravmir.ru/10-kartin-nikola-ge/?ysclid=lv2rgu8wf15566442 — Quit. Tourovsky M. seven and a half, or Andrei Tarkovsky’s films. Art, 1991. C. 69.
Cover: Titian. The beating of Christ. Ok. 1560 — https://news.artnet.com/art-world/ecce-homo-bible-museum-2444886/amp-page — https://artandchristicity.org/ecclesiart-listings/bill-viola-kir-kira-perov-martirs — https://www.thecollector.com/bill-viola-visdeo-control-artist/https://www.dailyartmagazine.com/vienness-actionism/ — https://www.mutualart.com/Artwork/Jesus-Reveled/5AE60A4781C4E890 — https://www.artsy.net/artwork/georg-Baselitz-kopf-head-3 — https://live.statistlickrts.com/6535/53347477253_b.fk.fk.fkkkk.kk.
