Why do artists paint so many nudes? Traditionally, mastery of nudes was an essential skill. Not just an outer surface but an understanding of internal structures too. Often the nude studies acted as designs and templates for more than one painting, making changes and adapting compositions and adding clothing as needed for the intended meaning and emotion of the finished works. The nude is also a subject in its own right.
In this powerful figure, we encounter a serenely beautiful and masterful painting. We can see and wonder at the technical mastery of rendered flesh, fabric, textures and bloody realism in this exquisite graceful and heavenly depiction with an other-worldly dimension. Admire the delicate portrayal of the rivulets of blood emanating from the various wounds; hands, the crown of thorns, the spear wound to the chest and the individually nailed feet to a supporting block. The long, straggly hair of Christ mimics the flow of blood.
The decided lack of information of dark greens and blues of the background strongly contrasts with Christ’s body focusing our attention on the body of Christ and the cross that has a feeling of being illuminated by heavenly light. The glowing light from his halo emanates from within. The arms have subtle, graceful curves that defy gravity.
The white of the loincloth is the centre of the painting and the brightest part. It is more than just for modesty but a pivotal point adding a dynamic to the almost understated composition. It is serenely muted, going against the drama of earlier Baroque paintings. The usual narrative is stripped away so we can focus purely on the uncluttered image allowing a deep, thoughtful, reflective and meditative contemplation of the work similar to the devotion of an Icon.
