Stuck studied the distinctive poses of the human form in numerous preparatory sketches and studies of the live model. His position of resignation differs sharply from the tormented poses of the thieves beside him, which is reinforced in the 1892 version by the mocking crowd in the background.Īnother striking antithesis is that between the dress of the onlookers, built up with grand, stylized forms, and the detailed nude bodies of Christ and the thieves. Christ has just died and hangs on the cross in a bright, supernatural light. Stuck’s representations of the Crucifixion, both the painting of 1892 and the later variant, contain dramatic color contrasts. Crucifixion (1892) Crucifixion by Franz von Stuck, 1892, via FlickrĪs seen in the Pietà, the Christian themes of suffering, passion, and emotions greatly influenced Franz von Stuck’s art, highlighting the human elements of religious drama. As such, it has been described by art historians as a Symbolist self-portrait.Ģ. Christ’s body bears the artists’ features. The muscle of his left arm is still tensed, the hand convulsed, bringing to mind the nails of the cross and Christ’s Passion. Christ has no halo, being depicted merely as a dead man in the tradition of Hans Holbein. ![]() A sharply delineated halo surrounds her head in the form of a ring intersected by the upper canvas edge. Both Jesus and Mary are rendered in profile, Mary in a strictly vertical position, head inclined slightly forward, face in hands.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |