Resurrection & Christ. Extended Written Response. For many centuries, artists
throughout the world have aimed to capture and portray a particular theme or
subject in accordance to their religious beliefs, personal influences, and mood,
or based entirely upon societal influences. The figure of Christ and the manner
in which he has been depicted has varied immensely over the years, which is
highly indicative of changing social attitudes. Piero della Francesca’s
Resurrection of 1463, and Julie Rrap’s Christ of 1984, have each depicted a
Christ like figure in a way that illustrates their personal beliefs and also
reflects the public’s stance regarding the depiction of Christ at the time each
artwork was completed.
The two artworks are significantly different in style and representation, as
each artist has selected different media and entirely different approaches and
interpretations. These significant differences are mainly due to the eras in
which each artwork was produced. Francesca’s fresco is a classic product of the
Italian Renaissance period, whereas Rrap’s piece is indicative of “our changing
society and its religious values.” (Israel, 1997, p.160).
Francesca composed his piece during the Early Renaissance period at the
beginning of the 15th century, where faith in the theoretical foundations of art
was highly placed. During this time, many examples of Ancient art were revered
as both a source of inspiration and also as a record of trial and error that had
the ability to reveal the success of the former great artists. (Pioch, 1996,
p.1).
About this time, there was still a set format of how particular Christian
figures were perceived to have appeared; hence Francesca has depicted the figure
of Christ in the stereo typed perception. Yet he has done so in a manner that
fully exemplifies the era he was in, and also indicates his personal interest
and success with the use of perspective. Alternatively, Rrap’s photomontage
Christ has been compiled at a time when female stereo types are being
challenged. The artwork challenges “the male dominance of past art.”
Typical of postmodern art, this piece is quite the feminist statement, and is
in keeping with many of her previous artworks. (Israel, 1997, p.160). The two
artworks are noticeably different immediately upon viewing, as Resurrection is a
fresco and Christ is a photomontage. The fresco was compiled with the use of
pigment being applied to wet plaster, whereas the photomontage is in essence an
installation arrangement that has used a collage technique with the use of
photographs.
Rrap has used a piece of art by Munch and outlined the figure it depicted,
and then positioned herself whilst semi-naked within the outline. It is this
placement of herself within the outline that has enabled her to “slip out of the
stereotype of the female” (Israel, 1997, p.160).
