As we begin Holy Week, Christians all over the world are reflecting on The Passion and Resurrection of Jesus of Nazareth. For over 1000 years, artists have depicted the events surrounding Jesus's betrayal, trial, crucifixion and resurrection. Full of emotion and symbolism, these scenes are stunning reminders of the power of artistic expression.
BBC191990 The Lamentation of the Dead Christ, c.1305 (fresco) by Giotto di Bondone (c.1266-1337) Scrovegni (Arena) Chapel, Padua, Italy
Though the earliest paintings of the Crucifixion date from the 5th century, The Passion story was given its first truly artistic outing in Giotto's frescoes in the Cappella degli Scrovegni in Padua, Italy between 1303 and 1310. These included an image of "The Mourning of Christ" after his death on the cross. In medieval times, art was used as a tool to illustrate church doctrine to the illiterate masses. Stained glass windows, gilt altarpieces and other artistic representations had a narrative, rather than an emotional focus.
ALG249262 Christ in the Garden of Gethsemane, from a series of Scenes of the New Testament (fresco) by Barna da Siena (fl.1350-55) Collegiata, San Gimignano, Italy/ Alinari
XIR240244 Window depicting the crucifixion (stained glass) by French School (12th century) Musee de l'Oeuvre Notre Dame, Strasbourg, France/ Giraudon
The Renaissance brought a far more emotional element to painting and a focus on capturing facial expression. In addition, many of the Renaissance artists had studied anatomy so their ability to accurately capture the human form was far greater than artists of the medieval period. This was also partly to do with the rise of humanism and the belief that the individual had autonomy outside God’s determining plan for them; prior to this, the individual and body were considered sinful and in need of redemption from the moment of birth.
TOP29114 Christ Mocked (The Crowning with Thorns) c.1490-1500 (oil on panel) by Hieronymus Bosch (c.1450-1516) National Gallery, London, UK
XIR71774 Crucifixion from the Isenheim Altarpiece, detail of Christ's right hand, c.1512-16 (oil on panel) by Matthias Grunewald (Mathis Nithart Gothart) (c.1480-1528) Musee d'Unterlinden, Colmar, France/ Giraudon
The 18th and 19th centuries, with Enlightenment theory and later Romanticism focusing on the individual, the sense of art for education or for the community seems to lessen and it appears to become more of an expression of individual belief or feeling. The focus seemed to be on the style of the individual and their personal interpretation, rather than adherence to the overall style of the period.
BEN80204 Ecce Homo (oil on canvas) by Antonio Ciseri (1821-91) Galleria d'Arte Moderna, Florence, Italy
PHD334 The Agony in the Garden, 1889 (oil on canvas) by Paul Gauguin (1848-1903) Norton Gallery, Palm Beach, Florida, USA
Critics have argued that religious art met its zenith in the Renaissance. However, it may just be that the relationship between art and religion in the modern world has become more complicated. Before the internet, television and our insatiable hunger for popular culture, man had a far simpler relationship with his faith; religious paintings of Jesus's suffering hung in dark churches and had the ability to convey emotion in an immediate and personal way.
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WNG268474 The sorrowful Virgin Mary holds her Son Jesus after His death, 1994 (oil on panel) by Elizabeth Wang (Contemporary Artist) Private Collection/ Radiant Light
Religion still maintains an immense power within the modern art world. Following the 16th century, when autonomy independent from religion did not exist, a sense of faith has become an individual choice rather than an essential element to life. Likewise, the artist’s relationship to the theme of religion has become a far more personal one, a means to work through feelings towards their beliefs as well as the complicated position religion holds within modern life. Bridgeman holds over 500 images of contemporary Christian art from illustrations of biblical stories, to conceptual religious themes making it clear that a modern understanding of Christianity through art will never conform to a unified standard.
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