Sermon on the Mount 1916

Editor: Christian Rohlfs' linocut print, *Sermon on the Mount*, created in 1916, uses these stark contrasts. It’s interesting to see such a familiar biblical scene rendered in this rough, almost urgent style. What symbols jump out at you in this work? Curator: The most immediate symbol is, of course, the central figure, clearly representing Christ delivering the sermon. The upraised arm is a universal signifier of communication, of imparting knowledge or divine wisdom. Note how the artist employs harsh, angular lines—do you observe how they create a sense of unease or intensity, differing greatly from traditional depictions? Editor: I do! It’s very different from the serene paintings I've seen before. Is Rohlfs using Expressionism to amplify the message somehow? Curator: Precisely. The Expressionists aimed to convey emotional experience rather than objective reality. The ruggedness reflects the period's spiritual and social anxieties, especially considering this work was made during the First World War. Consider how stark black and white heighten the emotional impact. Editor: So the darkness around the edges isn’t just background. Curator: Not at all! Darkness often embodies doubt, fear, and uncertainty, challenging and unsettling for the viewer. The figures huddled below could signify both faith and perhaps questioning. Do you agree? Editor: Absolutely. Seeing those faces searching—almost desperate—is very moving, especially in contrast to Christ's clear gesture. It shows the human hunger for guidance. Curator: It serves to reinforce how the image speaks beyond its historical context. What this linocut captures, I believe, is the perpetual human condition of seeking meaning in a turbulent world. Editor: I'll definitely look at Expressionist works differently now, seeing not just distorted forms but layers of cultural meaning within those shapes. Curator: And hopefully appreciating the echoes of human experience contained within each striking line.