The realism of proportion and position is a hallmark of the Late Renaissance/Baroque period. The sharp contrast between Christ and his surroundings, however, is a distinct and yet subtle influence of de Champaigne's Flemish training. Christ is very clearly and visibly defined, and there is no question that he stands out fro the other elements of the painting, scant as they are, appearing almost to have a three dimensional quality that is lacking elsewhere despite the attention to detail. Iconography and lighting are very closely related in this piece. Almost the entire scene is cast in deep shadow, but the figure of Christ is bathed in light, and even seems to e radiating it himself. This gives his body the appearance of having a halo entirely surrounding it, emphasizing the divine nature both of the man himself and of the current situation he is in. The despondency apparent on his face is most easily attributed to the meaner parts of human nature, and this is mirrored by the shadows surrounding and enveloping everyting but Jesus -- at this point, he is the only thing of holiness in the scene and, the painter seems to be saying, possibly in...
Despite the instruments of torture and humiliation that he holds -- indeed, perhaps because of them -- Christ is imbued with holiness and light in the world's darkest hour.Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
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