In the Renaissance, religious subjects were more common in the North and there was less focus in mythology unlike the paintings in Italy at the time. Both the engraving and the panel depict the resurrection of Christ. He appears above his tomb, partially wrapped in a long shroud and there is a halo of light around his head. His arms are splayed out on either side of him, loosely mimicking his position on the cross and he is in the classic contrapposto pose.
Grünewald’s Christ has a supernatural quality, as he is shown hovering and rising out of the open tomb whereas Dürer’s is simply standing on a closed one. However, both of their cloaks appear to be floating of their own free will in the air, creating a dramatic divide between Christ and …show more content…
Using a limited colour palette, he utilises this to highlight important parts of the painting. Duller tones are used on the guards, the ground and his tomb whereas the vibrant colours are used on Christ. The cloak starts off as being a light, frosty blue and then graduating up into a dark blue behind the figure. In front of Christ’s torso, the cloak is a vivid orange-red eventually turning yellow as it reaches his head and the halo. These smooth transitions between colours show Grünewald’s talent in using oil paints. He also appears to have a ghostly pallor to him, with little tone to his skin. This only changes on his face where his whole head and hair have sparse detail due to all of the yellow light radiating from it. The halo gradually becomes orange as it gets further away from its source and is outlined by a blue-green band, which makes it stand out even more from the background. The contrast between light and dark in Dürer’s Resurrection is not as dramatic as Grünewald’s but his engraving skills can be seen. Although a new form of engraving emerged where another colour could be added to create a middle tone , Dürer continued to work in black and white. He was able to convey a middle tone with the accuracy and evenness of his cutting. Every single part of the engraving can be distinguished due to this technique and it creates depth. Christ’s cloak
Grünewald’s Christ has a supernatural quality, as he is shown hovering and rising out of the open tomb whereas Dürer’s is simply standing on a closed one. However, both of their cloaks appear to be floating of their own free will in the air, creating a dramatic divide between Christ and …show more content…
Using a limited colour palette, he utilises this to highlight important parts of the painting. Duller tones are used on the guards, the ground and his tomb whereas the vibrant colours are used on Christ. The cloak starts off as being a light, frosty blue and then graduating up into a dark blue behind the figure. In front of Christ’s torso, the cloak is a vivid orange-red eventually turning yellow as it reaches his head and the halo. These smooth transitions between colours show Grünewald’s talent in using oil paints. He also appears to have a ghostly pallor to him, with little tone to his skin. This only changes on his face where his whole head and hair have sparse detail due to all of the yellow light radiating from it. The halo gradually becomes orange as it gets further away from its source and is outlined by a blue-green band, which makes it stand out even more from the background. The contrast between light and dark in Dürer’s Resurrection is not as dramatic as Grünewald’s but his engraving skills can be seen. Although a new form of engraving emerged where another colour could be added to create a middle tone , Dürer continued to work in black and white. He was able to convey a middle tone with the accuracy and evenness of his cutting. Every single part of the engraving can be distinguished due to this technique and it creates depth. Christ’s cloak