This series from the National Gallery in London looks at paintings from the museum's Renaissance collection and explores some surprising and ingenious responses to the challenge of painting Christ.
Neither words nor images fully capture the Christian God. Despite this inherent difficulty, painters still tried.
Empty, blank, or unfinished spaces leave paintings open to the viewer and create compelling ambiguities.
In paintings as in sacred spaces, curtains play with revelation and draw attention to the limits of human vision.
Temporal and spatial ambiguity imbue two images of the Virgin and Child—and this portrait of Christ’s suffering.
Like place, time is an important theological category and, like the divine, it can be hard to comprehend.
Renaissance painters like Lippi devised spatial metaphors in order to convey the mystery of Christ’s conception.
Where does a painting end and our reality begin? Crivelli’s humble snail prompts more questions than answers.