One of the peak moments of the Catholic religious image is related to the crucifixion of Christ. The moment when, according to the gospel, darkness is broken and Jesus entrusts his soul to God. This moment of tension and pathos has often been presented throughout art history, as this and others are not the central theme of the Christian religion as well as the Eucharist.
Jesus’ suffering on the cross touches on the most important doctrinal aspects of Christian theology, such as the atonement for sins, salvation, and death and resurrection. Most interesting in this symbolic theme of the crucifixion is that associated with men, it gives power and distinction: these are the paradigmatic cases of Jesus of Nazareth, St. Peter, who was crucified upright in Rome, according to the Apocryphal Gospels. And St. Andrew, who was martyred on the cross in the form of persons.
It is really interesting to review the same performances that have emerged in the art world but change the gender of the presented subject. When a woman is crucified, it is inevitable to feel how the symbolism used on debauchery stigmatizes and points to the mere fact of a woman. The martyrdom of St. Evalia Painted by Bernat Martorelli in the mid-15th century, it marks the iconographic tendency of the crucified so-called. A woman tied or nailed to a cross, scantily clad, appeared before the audience, condemning her.
Santa’s worth it, and those who take his place will be represented with outstretched arms, in a state of surrender and obedience, and often naked or half-naked, as if the perversion of a convicted woman is always insinuated. In the XIX century, Crucified woman Louis-Joseph-Raphael Colin continues to represent this type of bleeding of a crucified naked woman who, instead of appealing to compassion, seems to stigmatize her.
In this regard, we can single out a few canvases by Felicien Rops, in both The temptation of San Antonio As inside SatanicBelgian artist and engraver depicts fatal women on a cross or the edge of a cross. They are more sinners than repentant ones who intend to atone for their sins. Their bodies look provocative, while the shapes do not evoke sensuality, but rather shape and emphasize it. In The temptation of San Antonio,As art critic Avellina Lesper points out, “A woman seizes the place of faith, a cross is erected on the knee of San Antonio. She laughs happily.” The image is no longer religious, Rops introduces the viewer to a world of torture and pain, but also to a world of guilt and pleasure. A woman embodies provocation and debauchery and deserves punishment. Punishment that does not bring him closer to holiness underscores his sexual insolence.
Satanic By Rops is most conspicuous for its clarity: it shows a crucified man occupying the upper part of the image. The red background gives the scene a macabre and violent tone. The male erect penis and testicles support the female naked body. His posture with outstretched arms, holding a black cloak parallel to the horizontal plank, seems to make his cross as well. The scene emphasizes a woman’s obscenity and, moreover, points to her as the culprit of a man’s sin. moon light Also prone to eroticism and forbidden pleasure by Albert von Keller. The represented woman stands on the cross, but her whole body seems to have foresight, as if spinning towards the viewer. The head tilted to the arm, as well as the hand tied to the hook, seems to be part of the scene of homosexuality rather than the scene of the crucifixion. In both Keller and Rops, women seem to have been crucified for their sexual desires. It seems that this crucifixion is the last stage of a hypnosis or psychoanalysis session, which is so fashionable at a time when a woman’s sexual desire is described as abnormal. Therefore, the cross does not purify their souls: it darkens them even more.
In the 19th century, Gabriel von Max represented St. The martyrdom of St. Julia of Carthage The death penalty on the cross is a Christian martyr. On the canvas, the saint on the cross is seen with his hands outstretched. She is probably one of the few exceptions in which a painted woman appears to be fully clothed. A folded white tunic covers her body and leaves only her hands bare. Even the legs are not bare.
In recent years, many performances that have appeared on television or in pop culture have used the crucifixion of Jesus as a metaphor for the suffering suffered by women throughout history. Madonna often used the cross in her shows as a symbol of women’s liberation. In the video clip Like prayer , Ended up in a field full of burnt crosses, and this made the Ku Klux Klan condemn the racism of the clan. On the tour Confessions In 2006, the artist staged his own crucifixion and was not interested in criticizing the most conservative press and the Vatican, who later called him a scoundrel.
The crucifixion was also used as a method of protest by Femen activists in an act against the patriarchal system in 2010 at St. Sophia Cathedral in Kiev. Since the cross was introduced as part of the Christian symbolism, it has been a form of punishment for offenders ever since. Ancient Rome, used on men, becomes a purified and faithful image. However, if this cross contains a woman’s body, the image is obscene, offensive or depraved.
Source: El Diario
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