The Man of Sorrows c. 1354

Editor: Here we have Roberto Oderisi's "The Man of Sorrows," an undated piece at the Harvard Art Museums. The painting on panel shows the dead Christ surrounded by mourning figures and the instruments of his torture. What strikes me is the sheer labor that went into rendering all this detail with such precious materials. What do you see in this piece? Curator: It is in the detailed rendering of those instruments – the means of production of Christ's suffering, if you will – that the painting’s power lies. This isn't just about religious devotion; it's a stark reminder of the human cost, both the physical labor and the social structures that upheld such violence. How does the artist's choice to depict these implements impact your understanding of the scene? Editor: That's a compelling point; framing the Passion as a material process makes it feel very present and real. I hadn't considered that. Curator: Indeed, it forces us to confront the materiality of faith and the social forces at play.