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Variations on a Theme Part 2

While walking through the Van Gogh Museum, Amsterdam, The Netherlands, the painting, Jerusalem (Golgatha, Consummatum Est, Crucifixion) by Jean-Léon Gérôme caught my eye.  It did not catch my eye because of the style, but due to the treatment of the subject.  This is an interesting painting because it is the classical crucifixion theme redone in a way that I have not seen before.  The cross itself is not visible.  Instead one views the shadows of the three laden cross as they fall across the rocky ground.  Christ is not in the picture, but does that weaken the story?  There are symbols of the darkness that clothed the day for three hours according to the account of the event in Mark 15:33.    Jerusalem is lit up in the background and darkness like a curtain is falling (or lifting) from the right upper corner.  The darkness blocked the light and there is a shadow that divides the city of Jerusalem from the place of the skull. One sees a distant caravan of people walking in the background.  They are passing by the scene, rather than crowding around the crosses as is pictured in other versions of the story.  The shadows of the crosses stretch lonely across the foreground.

golgatha_gerome

While in the Neue Pinakothek, Munich, Germany another more contemporary crucifixion and rather graphic image by Lovis Corinth, captured my attention.  His work is entitled The Red Christ and was completed in 1922.  This Christ has depleted outstretched limbs complimented with thick red blood.  The support is covered with swirling areas of color and large areas of paint.  Out of this mess is an experience of the horrific moment that Christ was stuck with a spear.  A crowd is depicted around the cross, with all but one or two figures indistinguishable.  Out of the works in this post, this piece, best depicts the horrific nature of the death on the cross.

the-red-christ-1922
These are four different scenes of the same story.  The paintings were done in four different centuries over five hundred years.  Style changed.  The message had different emphasis, but the story is the same.

I have always been drawn to natural, organic objects and choose to portray them with oil on textured surfaces. Often, I present my subject in "dynamic still life" with a shift of time through movement or growth-decay. I am originally from the rust-belt city of Rockford, Illinois. I left the manufacturing town to study fine art at Asbury College and find inspiration among the rolling hills and forests of rural Kentucky. Although consistently representational, I strive to create subtlety layered visual and philosophical metaphors. In 2005, I returned to the country's heartland where I am active in the local art community of Indianapolis, Indiana. Next to oil painting, my greatest passion is helping others appreciate art by teaching private classes.