Jesus' Resurrection

The generic title of the School of Frankfurt can be used to describe the anonymous painter who, likely working in the second half of the fifteenth century, has a way of creating a bizarre fantasy around the figure of the Risen Christ. The sleeping soldiers have rich clothes, so much so that the one lying on the left looks more like a courtier in arms. The author has probably found an outlet for his decorative ability, which clashes with the physical descriptions of the soldiers, collapsed in a deep sleep or otherwise stupid. In the center, the sepulcher from which Jesus, blessing, emerges is a large rectangular tomb, whose open lid traces a diagonal on which stands an angel with orange wings and fluttering robes, absorbed in prayer, regardless of the nakedness of their legs. The most captivating detail of the composition consists in the painter's ability to create a kind of vortex around the now free figure of the Redeemer, endowed with considerable expressive power. For the rest, the world appears as complete chaos, immersed in sin and buried by the failure to recognize its own ills.