Christ with the Symbols of the Passion by Lavinia Fontana (Interpretation and Analysis)

Christ with the Symbols of the Passion
Source: Wikimedia Commons

Among the painters of the Mannerist movement, Lavinia Fontana is one of the finest. The Mannerist movement was a rather strange period in art; it was a rejection against the neat and orderly Renaissance style in favor of something much stranger. Mannerist art is full of unusual compositional choices, color, and proportions. Although she is not as famous as her male counterparts these days, Fontana’s work demonstrates incredible skill and, more importantly, an emotional intelligence that allowed her to create paintings that had a psychological impact on viewers.

Christ with the Symbols of the Passion is one of her early paintings, and it aptly demonstrates this interest in emotion. Like many painters of her time, Fontana followed the Counter-Reformation dictates that the Catholic Church put forward in response to the Protestant reformation. Following the rise of Protestantism, the Catholic Church sought out art that inspired deep piety based in emotion, as opposed to the more formal, stoic art of the Renaissance.

Christ with the Symbols of the Passion summons this form of affective piety through masterful use of the Mannerist style. The painting depicts small, child-like angels carrying the body of Christ and the symbols of his passion (Christ’s suffering and death on the cross). The cross, pillar, nails, whip, and crown of thorns are all visible, visual reminders of the violence of Christ’s death. The presence of these items would evoke an emotional response in contemporary Christians, who would be familiar with the story of Christ’s death.

Jesus’ body is also disproportionately large, dwarfing the angels who struggle under his weight. His body is twisted in an unnatural, S shape that is very typical of the dynamics of the Mannerist style. The cross and pillar similarly tower above the angels, creating a sense of monumental struggle. This imbalance creates a sense of tension that makes the painting thought provoking and memorable while also inspiring an emotional reaction.

While it is a fine example of Mannerist art, Fontana also calls upon the traditions of Medieval religious art, which primarily aimed to teach viewers about their religion. As such, Fontana’s scene is wholly imaginary, having no narrative basis in the bible or any other text. There is no story here; rather, she simply seeks to assemble bits and pieces of Christian imagery in order to remind the viewer of Christ’s death on the cross.

On its face, it is perhaps an odd combination of styles. However, in reality, the narrative unreality complements the strange, otherworldly energy generated by the Mannerist style. It is a bizarre painting, but an effective and moving one nonetheless.

Disclaimer: I’m not an art historian or an expert on this topic. The above is my opinion, based on my interpretation of my foreknowledge of art and history. If I’ve done any additional research, I’ll note it above.