Like place, time is an important theological category and, like the Incarnation, it can be hard to comprehend. This episode looks at sophisticated ways of handling different but related time frames in Ercole de’ Roberti’s The Dead Christ (c. 1490) and the exquisite The Deposition by the Master of the Saint Bartholomew Altarpiece (c. 1500–5).
‘The Audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
From The National Gallery.
