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The Resurrection of Christ | 50 Famous Paintings | LearnFromMasters (HD)
Description: "The Resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
From the 12th century the Resurrection itself begins to appear regularly in the West, with Christ shown emerging from what is normally shown as a Roman-style sarcophagus placed on the ground. Sometimes his torso is shown above the top edge of the sarcophagus, but more often he stands on top of it, or places one foot on the edge. The slab has always been removed (by an angel, though they are rarely shown), and may lie to one side of the scene at a diagonal angle. The iconography showing Christ stepping out of a sarcophagus, and placing his foot on one of the sleeping soldiers is first found in English alabaster reliefs. Like many aspects of Resurrection imagery, it may have drawn on medieval drama, which evolved complex traditions for dramatizing the event, including laments by the women at the tomb, and sub-plots involving the soldiers.
Showing Christ "hovering" above the tomb was an Italian innovation of the Trecento, and remained mostly found in Italian art until the late 15th century. One of the claimants to be the earliest surviving works to show this iconography is the well-known fresco by Andrea da Firenze in the Spanish Chapel of the Basilica of Santa Maria Novella in Florence, which dates to 1366. While earlier Northern artists showed Christ rising out of the tomb, but still with his feet on the ground, or the tomb itself, Matthias Grünewald's Isenheim Altarpiece (1505–1516) has a striking composition with Christ hovering in mid-air, which was already common in Italy, for example in a Raphael altarpiece of about 1500 (see gallery) and works by Titian and many others. Sometimes Christ is framed by a mandorla. Representations of the resurrection continued to evolve in the Renaissance, though the cross-banner in Christ's hand, representing victory over death, was often retained. In Pietro Perugino's depiction at the Vatican the tomb has a conventional style. Leonardo da Vinci used a rock-hewn cave. The "Resurrection cross" or "Triumphal cross" (Crux longa in Latin) is a simple, somewhat long, shaft crossed at the top from which a banner may float. Christ bears this in his hand in many depictions, as his standard of power, and the conqueror over death and Hell. However this must be distinguished from the shaft depicted in the hand of Saint John the Baptist which is a reed. The banner on the Triumphal cross is usually white and has a red cross, symbolizing the victory of the resurrected Christ over death. The symbol derived from the 4th century vision of the Roman Emperor Constantine the Great and his use of a cross on the Roman Standard.
The Council of Trent (1545–1563) objected to the floating or hovering depictions, and demanded a return to the older conception, with Christ's feet firmly on the ground, either stepping out of a sarcphagus, or standing upright, holding a banner. This was generally followed, at least until the 19th century. However, Tintoretto's 1565 depiction at his former parish church of San Cassiano (Venice) still shows the figure of Christ as floating above the tomb.
Depictions of the Resurrection continued into the Baroque period, with Rubens producing two paintings in 1611 and 1635 in which the triumphant figure of a resurrected Christ dominates the space. As in other religious subjects, after Tiepolo and his Spanish imitators, the momentum in producing religious art was lost. However, the depiction of the Resurrection continues to be a major theme in Christian churches, e.g. as in the 19th-century Rosary Basilica in Lourdes, France."
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