The Sensational...
A detail of Dead Christ, 1625-30, by Gregorio Fernandez
The National Gallery is currently housing an exhibition of Spanish artefacts from the 16th century, which is particularly remarkable as it presents a surprising approach to both contemplation and to sculptural representation at large. Not only does it feature very rare artworks by Ribalta, Valazquez and Montanes- which have not been shown outside Spain before- but we are also introduced to some unexpected spiritual practises. There are some astounding images such as Christ on the Cross and Saint Francis in Meditation by Zubaran which truly convey a sense of Memento Mori. We are also introduced to the mysterious relationship between painters and sculptors, and their divided responsibilities in creating an icon which is infused with spiritual resonance.
This exhibition is emphasising how the two dimensional painting was used as a preliminary stage of the artwork or as copy of much more venerated sculptural form which is so life like, the effect is almost chilling. We also learn how the wood is hollowed out to create polychrome sculptures which are still carried through the streets of Spain in procession during Holy Week. Various materials such as wax, paint and glass make the life size statures a near imitation of the human body. The most impressing piece on show is perhaps the sculpture of the Dead Christ by Fernandez, which has painted cork in the place of Christ’s wounds, dripping wax which looks like dyed blood, splinters of a bull’s horn which were inserted as fingernails and glass eyes which gives the sculpture an added sensation. Given the effect these deceivingly real icons have on us now, we can only imagine the impact they must have had on ordinary people during the time of the much feared inquisition.
Dead Christ viewed from the side,1625-30, by Gregorio Fernandez
The three-dimensional has indeed a very strong hold on our imagination. After all, we use very similar techniques today to change perceptions and to make ‘the real more sacred’. I am thinking here of Madame Tussauds which is visited by thousand of keen tourists every year to get a glimpse of Lady Diana and Michael Jackson in their immortal seeming representation.
But also there is a resonance to the gore and guts of Saatchi’s Sensation exhibition back in 1997, which at the time caused considerable outrage. The idea of the sensational, which comes across in the exhibition at the National Gallery, must have influenced artists such as Marc Quinn for instance. I am thinking here of the sculpture ‘Self’ which is basically his own death mask in frozen blood.
I found the exhibition at the National Gallery timeless and deeply moving.
The Sacred Made Real, National Gallery until 24th January 2010
Valeria Melchioretto
Images clockwise from left-
Mary Magdalen Meditating on the Crucifixion, 1664, by Pedro de Mena
The Crucifixion, 1627, by Francisco de Zurbaran
Christ as the Man of Sorrows, 1673, by Pedro de Mena