art in detail: the resurrection of christ

Art in Detail

The Resurrection of Christ

BOUTS, Dieric the ElderResurrection1450-60Tempera on canvas, 89 x 72,5 cmNorton Simon Museum of Art, Pasadena

BOUTS, Dieric the ElderResurrection (detail)1450-60Tempera on canvas, 89 x 72,5 cmNorton Simon Museum of Art, Pasadena

GIOTTO di BondoneNo. 37 Scenes from the Life of Christ: 21. Resurrection (Noli me tangere)1304-06Fresco, 200 x 185 cmCappella Scrovegni (Arena Chapel), Padua

GIOTTO di BondoneNo. 37 Scenes from the Life of Christ: 21. Resurrection (Noli me tangere) (detail)1304-06Fresco, 200 x 185 cmCappella Scrovegni (Arena Chapel), Padua

MULTSCHER, HansResurrection1437Panel, 148 x 140 cmStaatliche Museen, Berlin

MULTSCHER, HansResurrection (detail)1437Panel, 148 x 140 cmStaatliche Museen, Berlin

GRECO, ElThe Resurrection1596-1600Oil on canvas, 275 x 127 cmMuseo del Prado, Madrid

GRECO, ElThe Resurrection (detail)1596-1600Oil on canvas, 275 x 127 cmMuseo del Prado, Madrid

PIERO DELLA FRANCESCAResurrection1463-65Mural in fresco and tempera, 225 x 200 cmPinacoteca Comunale, Sansepolcro

PIERO DELLA FRANCESCAResurrection (detail)1463-65Mural in fresco and tempera, 225 x 200 cmPinacoteca Comunale, Sansepolcro

MEMLING, HansTriptych of the Resurrection with Saint Sebastian (left wing) and Ascension of Christ (right wing)ca. 1485-1490 Oil on wood, 62 x 45 cm (central panel), 62 x 19 cm (each wing)Musée du Louvre, Paris

MEMLING, HansTriptych of the Resurrection, Saint Sebastian (left wing) (detail) ca. 1485-1490 Oil on wood, 62 x 19 cm (left wing)Musée du Louvre, Paris

MEMLING, HansTriptych of the Resurrection, Ascension of Christ (right wing) (detail)ca. 1485-1490 Oil on wood, 62 x 19 cm (right wing)Musée du Louvre, Paris

MEMLING, HansTriptych of the Resurrection, (central panel)ca. 1485-1490 Oil on wood, 62 x 45 cm (central panel)Musée du Louvre, Paris

MEMLING, HansTriptych of the Resurrection, (central panel) (detail)ca. 1485-1490 Oil on wood, 62 x 45 cm (central panel)Musée du Louvre, Paris

Art in Detail: The Resurrection of Christ

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MEMLING, HansTriptych of the Resurrection

The critics pour mild scorn on Memling because he was, they say, a copier of other artists' styles, and produced nothing unique. This seems to miss the point. Memling's portraits of the human face were superb - sensitive and subtle. But his main achievement was to suggest a spiritual world similar to our own, but somehow Other.

The three panels in this painting show the Resurrection (central), the martyrdom of St Sebastian (left) and the Ascension (right). The Resurrection scene needs little explanation: the Risen Christ steps from the tomb while the soldiers sleep on, unaware of what has happened.

The left panel shows St Sebastian stripped of his clothes and looking rather glum as he is shot through with arrows - he has been condemned to death by the emperor Diocletian because of his faith in Christ - a capital crime at the time. His execution was carried out by his fellow soldiers - no doubt as a warning to them not to copy his disloyalty to the Roman State.

The right panel shows Mary, mother of Jesus and the disciples watching as the Risen Christ ascends into the sky, leaving them forever.

BOUTS, Dieric the ElderResurrection

One of the leading Northern European artists of his generation, Dieric Bouts favored a contemplative approach to painting that embodied an austere, powerful spirituality. As Christ rises from the tomb, the drama and theatricality of the moment are stilled by His serene yet intent gaze and by the lyrical landscape background. The scene unfolds in front of a wide, placid expanse of land, depicted with a sure-handed knowledge of luminous, atmospheric perspective.

The Resurrection belongs to a now-dismembered four- or five-part altarpiece that tells the story of the life of Jesus. Other pieces of the original ensemble are now at the National Gallery in London (The Entombment) and the Getty Museum in Los Angeles (The Annunciation).

GIOTTO di BondoneNo. 37 Scenes from the Life of Christ: 21. Resurrection (Noli me tangere)

Mary Magdalene recognizes Christ on Easter morning in front of the open tomb. She attempts to speak to her Lord and to touch him. He refuses, with the words "Touch me not". Giotto depicts the in-between status of Christ - no longer of this world, but not yet of the next world — through the wavering posture and the delicate coloring. The contrast with Mary Magdalene and the sleeping soldiers heightens this impression.

MULTSCHER, HansResurrection

The Risen Christ, draped only in a bright red cloth, sits on a massive stone sarcophagus, the red seals on the lid of which are unbroken. The body of Christ bears the stigmata of the Crucifixion. His right hand is raised in the gesture of benediction, while in the left He holds a staff surmounted by a cross. In the confined space between the sarcophagus and the enclosing fence four armed soldiers lie in a deep sleep.

GRECO, ElThe Resurrection

At the top, a nude Christ bears a white banner in his left hand, symbolizing triumph over death. His purple robe signifies sacrifice and martyrdom, while his rhomboidal halo echoes the Byzantine tradition.

The soldiers that guard the sepulcher appear surprised and confused by the event, except for one who is asleep. The use of scorcio gives these figures a high degree of dynamism. The borders of this work show the canvas´s priming, where the artist tested his colors and removed the overly thick hairs from his brushes.

This painting, signed with Greek letters on the lower edge off the canvas, belonged to the main altarpiece - of the church of the School College of María of Aragón, as were other works at the Prado Museum. A sketch or autograph reduction is in the Art Museum of Saint Louis, Missouri.

El Greco painted the scenes in small spaces, emphasizing the vertical format, and bathing them in a ghostly light that enhances the unreality of the figures, which are arranged in a very marked foreshortening and have very expressive features. The colours-cold, intense and contrasting- are applied very loosely over powerful anatomical constructions, and are perfect.

PIERO DELLA FRANCESCAResurrection

The soldiers in this painting they are strong men bored with the task they must perform - very human, in fact. The painting does show della Francesca's mastery of anatomy. The brown-torsoed figure is especially interesting, both for his wonderfully painted physique and the vacancy of his sleeping face.

The painting also shows della Francesca's innovative use of foreshortening - notice the realism of Jesus' left leg and foot as he hoists himself out of the tomb. This Christ-man ,the painter seems to say, is not an ethereal being who floats above us but a real, solid human being.

The Risen Jesus has an uncompromising, determined expression. He looks the viewer squarely in the face. What is more, he raises a standard with his right hand, squaring his shoulders as if to lead his followers into battle.

The resurrection of Jesus is the Christian religious belief that, after being put to death, Jesus rose again from the dead. It is the central tenet of Christian theology and part of the Nicene Creed: "On the third day he rose again in accordance with the Scriptures".

In the New Testament, after the Romans crucified Jesus, he was anointed and buried in a new tomb by Joseph of Arimathea but God raised him from the dead and he appeared to many people over a span of forty days before he ascended into heaven, to sit at the right hand of God.

Christians celebrate the resurrection of Jesus on Easter Sunday, two days after Good Friday, the day of his crucifixion. Easter's date corresponds roughly with Passover, the Jewish observance associated with the Exodus, that is fixed for the night of the Full moon near the time of the spring equinox.

art in detail: the resurrection of christ

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