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Christ in Limbo: A Trip to the IMA

 

Religion has and always will be a central theme in society, whether it be in today’s twenty-four hour news cycle or back when the idea of faith was brand new. In the case of Christianity, themes from the bible have been seen in works of art that date as far back as the 1500s, such is the case with the painting Christ in Limbo. Though the specific artist of this work is unknown, it was thought to be depicted by a follower of Hieronymus Bosch, a painter in the late 1400s. This particular piece of fine art features a chaotic smattering of subjects that as a whole very clearly portrays the artist’s fiery ideals of hell. The two-dimensional painting is non-representational, featuring both naturalistic depictions of humans and drastically contorted subjects, with no details truly indicative of our physical world or reality.

As was previously mentioned, this work of art is a painting which was created using oil paints on a wooden surface. Oil painting, which consists of pigments bound in an oil like linseed, became popular in Europe in the 15th century. At the time, artists prized oil paints in comparison to traditional tempera paints for the length of time it remained wet. Left alone, it could take an oil painting two weeks to dry, meaning over the course of that time the artist could alter the image however they wanted by mixing, removing, or adding layers.  In the case of an especially detailed work such as Christ in Limbo, the slow-drying quality of oil paint was most likely a huge benefit as it took a long time for the painting to be complete and has a very complex layout that may have been drafted several times.

Christ in Limbo was assumed to be created in the Netherlands around the year 1575, and as such was a part of the Northern Renaissance movement that took place in the 1500s. Religion was a central theme within the Renaissance as a result of the fall in the feudal system in Europe and the northern parts of the continent were no exception, with artists such as Bosch now known for their artistic depictions of Christianity. The subject matter of Northern works during this time is famous for consistently surrounding Gothic religious themes, whereas the Renaissance in southern Europe meant adding classical ideals from ancient Greece and Rome to its art. Another characteristic of art in the north during this period was painting on wooden panels, with Christ in Limbo being an excellent example of that technique, as book illustrators began focusing more on the imagery of biblical stories rather than the words telling them, eventually expanding their drawings so many that entire panels could be filled. It is possible that this particular painting began as a simple story which the artist thought might be better portrayed by oil and pigment.

There are a few different visual elements used in the piece which add to the tenebrous statement it makes, the most obvious of which being value. The lack of light and prominence of darkness is a type of artistic connotation in itself, immediately dragging the audience into hell, a place entirely void of hope or the light of the heavens. Light itself is also used as a focal point, the main source of it cascading from the opening where Christ descends from above, representing a beacon towards which the damned souls may crawl.

The piece is also demonstrative of the use of time and motion, without which would leave the scene much less dramatic. Upon close examination, every single subject in the arrangement gives the illusion of movement in some way, whether it be flinching from torture or scuttling from the mouth of Hell itself. The actions of these lost souls being doomed to an eternity of suffering adds to the already demanding agony of the work, with the audience feeling the hopelessness in the flames of damnation at their backs just as the subjects do.

While the painting’s title emphasizes the story behind the scene, and whom the main subject is meant to be, the enormous scale of Hell in comparison to the savior which is descending to save righteous souls makes a definitive religious statement. Of the hundreds of souls occupying hell, it seems impossible that Christ could possibly save them all and pull them from the clutches of eternal damnation. Such is the struggle of a person of faith, to fight against the ever-present sins of reality and save their soul from descending to hell. In that context, the difficulties of remaining a devout person, which are often only shamed instead of acknowledged by religious figures, is displayed and even highlighted in this piece. The painting is a depiction of the chaos and doubt a sinner might feel mentally, with the slim chance for redemption so small in comparison to the plight of their personal hell.

            Christ in Limbo is a work of art that physically portrays both a biblical tale and the frenzied swirl of human temptations as it compares to religious purity. Though the subject matter was built around Christian beliefs, the piece can be appreciated by those of differing or non-existing faiths, as it is always intriguing to consider what one’s personal ideas of hell or the afterlife might look life. Christ in Limbo stands out as an especially religious piece, a common theme for art of that time period and location, and causes the audience members to consider what a savior might look like to them, whether it be in terms of religious faith or simply someone they love that could pull them back from the edge.

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