The gallery is centered on oil paintings of Jesus after the resurrection. The collection ranges from 1000 A.D till the end of the 1800's. The depictions of Jesus all take place after his resurrection and end at his ascension into heaven. One other thing to note is every artist in this collection has depicted Jesus as barely having the need for clothing but is there is also a light that shines out of Jesus that no matter what the darkness is around him, he is easily defined.
Christ's Appearance to Mary Magdalene after the Resurrection, Alexander Ivanov, 1835, From the collection of: The State Russian Museum
In Ivanov's painting, Jesus here is half dressed in a white sheet with wounds on his right side and feet. Jesus stands tall to the right of the painting. Mary Magdalene balances the painting by bowing down to Jesus in the lower left of the painting. The focus of this painting is Jesus. Jesus is a bright light in contrast to the darkness behind him. Mary Magdalene, who is also wearing darker colors, is trying to reach out and touch him, almost wanting to be a part of the brightness.
The Resurrection of Christ, Giuseppe Maria Crespi, circa 1690, From the collection of: North Carolina Museum of Art
Crespi's Resurrection of Christ depicts Jesus at the moment of resurrection. The roman soldiers are asleep at the tomb. The others are frightened at the sight of Jesus floating in mid air surrounded by two angels. The focus of the painting is on Jesus as he is pale and painted in a bright whitish color to give of the illusion that he is the light source of the painting. Again the painting is also balanced by having Jesus and the angels at the top half of the painting and the soldiers on the bottom half.
Resurrection, Albert Pinkham Ryder, completed 1885, From the collection of: The Phillips Collection
Ryder's Resurrection shows Jesus on the day of resurrection wearing a white sheet standing over a woman dressed in dark clothing. The artist balances the artwork by having the lady in black bowing down to Jesus on the bottom right hand corner, while Jesus is stand over her on the left hand side. A scar is noticeable at Jesus' side. Jesus is clearly the focus here as the figure of Jesus is clothed in a bright white emphasizing that light is emanating from him.
The Resurrection, Jean-François de Troy, 1739, From the collection of: Los Angeles County Museum of Art
This is oil painting, we are taken to the moment of resurrection. Jesus is floating over his tomb and is covered only by a cloth that is coming off a staff he is holding. Below him are roman guards either asleep or scared to look upon Jesus. A wound is shown on the left side of Jesus' torso. There is a heavenly light behind Jesus which accents who he is and focuses the viewers eye to this new superhuman awakening from the dead with new powers.
The Resurrection, Ricci, Sebastiano, c. 1715-16, From the collection of: Dulwich Picture Gallery
This painting of the resurrection depicts the newly resurrected Jesus surrounded by a host of angels hovering over his tomb. on the ground are the roman soldiers either asleep, running in fear or attempting to fight off the angels. An opening to heaven shines a light to Jesus who is floating in mid air and holding the banner of the church. His skin is a bright white pale color reflective of the light shining onto him. You can see the wounds on his side, feet and hands. Again Jesus is covered only in a sheet that is wrapped around his waist.
Noli me Tangere, Titian, about 1514, From the collection of: The National Gallery, London
Jesus is depicted here wearing a white cape, linen around his waist and holding a farming tool. Mary Magdalene is on the floor wearing white and red attempting to touch Jesus. The focus of this painting is on both Jesus and Mary Magdalene. The viewer is not concerned about the sheep or people in the background. Jesus is again barely clothed and you can make out the wound on his foot.
Noli Me Tangere, Alessandro Magnasco, 1705–1710, From the collection of: The J. Paul Getty Museum
This second painting titled Noli Me Tangere again depicts Jesus clothed in a white sheet in front of Mary Magdalene.Jesus is once again the focus of this painting as his is painted a pale bright color with a bright white sheet surrounding his waist. Visually, he stands out from the rest of the painting including Mary Magdalene who is dressed in blues and a mustard yellow. Jesus is once again identified with a wound on the side of his torso.
Doubting Thomas, Sebastián López de Arteaga, 1000, From the collection of: Museo Nacional de Arte
Doubting Thomas painted by Arteaga shows us a Jesus appearing before his disciples and most notably Thomas. Jesus is the focus of this painting as his skin is the brightest source in the painting. Unlike other painting, Jesus is not wearing a white cloth around his waist but a deep red colored cloth. Jesus' skin shines and you can easily identify the wound where he was pieced that Thomas is touching.
The Supper at Emmaus, Bartolomeo Cavarozzi, about 1615–1625, From the collection of: The J. Paul Getty Museum
The Supper at Emmaus shows Jesus at the table with his disciples after the resurrection. Jesus is the focus here because he is sitting at the head of the table barely dressed in a bright white linen. Jesus is the brightest figure in the painting while the other three disciples are looking on at him.
Ascension of Christ, Giacomo Cavedone, circa 1640, From the collection of: Los Angeles County Museum of Art
The last painting in this collection is the Ascension of Christ. Jesus is hovering over his followers barely clad in a white cloth. The focus on the supernatural Christ that is ascending to heaven. Jesus is again the brightest figure in the painting and apparently in heaven, there isn't much need for clothing.
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
