The Resurrection and the Flagellation of Christ- Pierro Della Francesca
It is a dark morning- and the stiff, dead silhouettes of trees stick out into the marshy coloured sky and land. Four guards lay sleeping- protectors of a tomb. The scene is motionless- except in the precise middle of the composition- where the triumphant figure of Jesus Christ rises up into the scene- fixated, focused, and glorious. His presence radiates across the piece- reflecting a moment of absolute divinity. This is ‘The Resurrection’ by Pierro Della Francesca. Perhaps one of the most innovative and recognized works of it’s time- this artwork is a true reflection of the ideals of the renaissance, and an incredible example of the depth and strength of Pierro Della Francesca’s art practice, and the way in which he as an artist, conveys meaning through his use of both precise and expressive methods.
During his life, Pierro was often commissioned to do frescos particularly of religious scenes- as he specialized in these types of works. ‘The resurrection’ is one of the most renound biblical scenes in the art world- and was painted between 1463 and 1465- at a time where religion was at the forefront of the social system of the world. Pierro was commissioned to paint ‘The Resurrection’ in a communal meeting hall in Sansepolcro, Tuscany- and from analysis, one can see how the Tuscan landscape has been incorporated into this composition- the rolling green hills and olive-green trees. The composition for the work is extremely precise, and through his use of geometry and perspective, Pierro conveys meaning through this fascinating visual representation. Obviously the main feature of the work is Christ. The figure of Jesus has been painted in such a majestic style- the way his garments fall off and gather around his raised leg- on which he rests his arm. In the other arm Christ is holding a flag with a red cross on it- a symbol for his triumph over death. His body is pale, and bright against the greenish, ill-coloured sky- suggestive of being separate from the physical world as a divine being- as a god. His gaze is mesmerizing- it is raw and rough, and rather than appearing as perfect or godlike as opposed to a majority of other depictions of Jesus, Pierro paints Christ as extremely human-like- rough, intense, real. This is indicative of the concept of the work- the struggle and the anguish of Jesus as he rises not only from the dead, but up above those who persecuted him. His eyes are deep and full of shadow- and the work in person creates the illusion that his eyes follow you wherever you stand. Some suggest the background of the work to express a joyous, fresh scene. However, it mainly appears to suggest anticipation or tension- the dead looking trees, rough scrub and washed out sky- helps to draw upon ideas of suffering, of suspense; waiting for Christ to return. It is symbolic of the idea of the world without Christ. The figures sleeping outside the tomb are unconscious and unaware of this coming of Christ- but as the audience takes in the scene we feel connected, as we know something that the guards do not. The expressions and positions of the four men are quite considerably contrasting with the figure of Christ and the background- as they almost appear peaceful or tranquil- as opposed to the threatening background and scene. Their positions are extremely realistic-illustrating the accuracy of human form and the way it falls and stations itself. The men are blissfully unaware- the world is at a standstill, it has stopped in motion- all except for the divine figure of Christ.
‘The Resurrection’ is a work that reflects how Pierro used specific composition techniques to convey a certain idea or concept. The values or themes of the work manifest themselves within the lines and structure of the fresco, and work harmoniously. The geometry used in the work is of great intention. A great example of this use of line and shape can be seen in the continuous sloping line across the middle of the work- the rolling lines of the hills connecting with the sloping line of Jesus’s arm an shoulders or garment- creating a strong divide and conscious vanishing point through and in the middle of the arrangement, as the line draws the eye directly to Jesus and his face- exaggerating his gaze and reinforcing his glory. From this precise use of linear perspective, Pierro conveys the value of Christ’s victory over death- the way in which this aspect is exaggerated through geometry reinforces the main and most important ideas about Christ’s divinity and his glory. As well as this, the mere subject matter indicates this notion of Christ’s greatness- as the sleeping figures highlight the idea that Christ is above humans- he is beyond human limitations- and this is exemplified in the simple and almost naïve expression and position of the guards. The main concept that Pierro is aiming to communicate is the sheer significance of this biblical scene, and the importance it has to Christianity and religion- and this notion is exemplified through his exaggeration of Christ’s almightiness, from using linear perspective to highlight Christ being the Centre of this scene and of this significant religious moment.
Much unlike ‘the resurrection’- in which Christ is portrayed in the Centre of the work both physically and conceptually, Pierro’s masterpiece ‘The flagellation of Christ’ is a painting that uses traditional techniques, yet within it is embedded an intense geometrical pattern or system of lines and shapes that communicate symbols, and the subject matter or composition is portraying this biblical story in a completely untraditional and new light. The work is quite small in size- a mere 23 inches in height and 32 inches in length, which adds to the overall complexity of the piece. It was painted using traditional tempera paint and oil paint, which manifests itself in the deep reds and browns of the garments on the figures in the foreground and the precise tiles on the ground. In the foreground in the far right corner, stand 3 men- adorned in heavy, rich coloured garments and in conversation- as suggested in their facial expressions and hand gestures. The scene appears calm and tranquil- which is very conflicting to the initial biblical recount of this story. The tiles on the floor have been painted in an extremely detailed linear perspective- indicative of the distance between these men in the foreground and then Jesus in the background. The pylons that stand between the men and Jesus also suggest this apical area, and they frame the most important scene of the work- the flagellation of Christ. Christ is being whipped and held back by two guards- the one on the right has his arm raised and back turned to indicate this violent action. However, Christ’s expression is unmoved- it is peaceful and accepting- as if he knew that it were not the end. Even the guards do not seem to be rigid and aggressive in their position or mannerisms- which questions the conceptual factors of the scene. There is also the emperor seated, observing the scene in again a tranquil manner, and another figure in the slight middle-ground, with his back facing the audience. The ceiling above them, being upheld by the pylons, has been painted as such a linear structure it is mesmerizing- as it appears so three dimensional, it develops a great level of perspective, size and shape. As well as this, the door in the very back of this room frames a staircase which is quite obviously in the next room- which adds to this effect of perspective and distance. The sky outside is clear and blue, the trees a vibrant green- hardly the setting for the downfall of Jesus Christ.
It is strange that the most vital feature of the work is represented in the background- and more so the fact that it is portrayed in such an innocent way. The composition of the work in this way is suggestive of Pierro’s intentions in terms of the conceptual aspects of the work- this scene has been painted deliberately to question recounts of the scene. In the bible this moment is not described in detail- much like the resurrection- and so in the work, by minimalizing the subject, Pierro is interrogating this story and the intensity of it. He also does this with the three men in the foreground- whose identities have been much debated on over art history. Probably the most logical explanation is the theory that the man in the centre is Oddantanio da Montefeltro, ruler of Urbino, joined on either side by his advisors. All three of these men were killed in a conspiracy. In this case, it is suggested that the patron of the painting was this man’s brother, who commissioned Pierro to paint this work to commemorate his brother’s death and compare his innocence to that of Christ. This is quite possibly another reason why Christ has been placed in the background- as a sort of reference of innocence, rather than being the main subject of the work. Basically, as this confusion over the composition and subject matter of the work is part of Pierro’s intention- as he encourages the audience to question this biblical event, and recognize the value of innocence in relation to Christ.
From both of these works, one can analyse the main features of Pierro Della Francesca’s art practice. He was a pioneer of the renaissance- exploring new theories of geometry, anatomy and religion. Especially in the Flagellation of Christ, this idea of questioning religion is evident- through the unorthodox representation of this biblical scene. Pierro was also quite obviously a master of colour- one who uses it to help convey the feeling and emotion in a work; the uneasy green of the sky in the resurrection, and the questionably bright colours in the violent scene in the flagellation of Christ. Pierro Della Francesca is an artist who effectively reflects ideas of the age of enlightenment- as his works are innovative, extraordinary, and ask questions about the world and people.