|Master of Gerard Acarie, Resurrection|
from Poeme sur la Passion
New York, Morgan Library
MS M147, fol. 26r
As the iconography of the Resurrection expanded, we have seen that during the fifteenth century each stage became more animated, less static, as it developed. Toward the end of the century the final level of energy emerged in both northern and southern Europe. In this final level Christ no longer climbs from the tomb or hovers above it, He literally bursts from the tomb in a blast of energy.
These images derive from the earlier “hovering” images. However, they are not serenely triumphant; in them the posture of Christ suggests a great deal of inherent energy.
Among the most famous are the images by:
|Paolo Uccello, Resurrection|
|Matthias Gruenewald, Resurrection|
Second set of wings from Isenheim Altarpiece
German, ca. 1515
Colmar, Musee d'Unterlinden
Brescia, SS. Nazario e Celso
A different, but no less energetic image, also derived from the hovering Christ, is found in the central panel of Titian’s Triptych of the Resurrection, painted at almost the same time (1520-1525) for the church of SS. Nazario and Celso in Brescia. Here the figure of Christ, although standing on a cloud, projects enormous energy. His position, poised on one leg, is an energetic one and He almost seems to be dancing in the air, as He waves the banner of victory over death, while His draperies fly out behind Him. In the background dawn breaks over a dark landscape, with a city seen in the distance. The astonished guards occupy the foreground. One guard has fallen to the ground, while the second gazes up at the Risen Lord.
|Agnolo Bronzino, Resurrection|
Florence, Santissima Annuziata
Mannerist painters, such as:
Venice, Church of San Cassiano
|El Greco, Resurrection|
Madrid, Museo del Prado
|Francesco Bassano, Resurrection|
Venice, Church of Santissimo Redentore
Vatican City, Pinacoteca
|Gerard Seghers, Resurrection|
Paris, Musee du Louvre
and surrounded the Risen Christ with much activity, even though the central figure is actually very static.
However, it is Paolo Veronese who pointed the way to the future Baroque style, as he so often did. In his 1570-1575 painting of the Resurrection Christ seems to truly burst forth from the tomb, no longer hovering serenely or standing on a cloud. His posture, His upraised arms, His face raised to heaven convey the sense of actual flight. Little wonder that the guards fall back in astonishment or try to hide their faces.
|Paolo Veronese, Resurrection|
Italian, ca. 1570
We have here entered a different realm of vision, culminating in such Baroque visions as that of the seventeenth-century painter Luca Giordano.
|Luca Giordano, Resurrection|
Italian, After 1665