Der Leichnam Christi nach der Kreuzabnahme, umgeben von Maria und den Engeln 

Curator: Anthony van Dyck's drawing, "The Body of Christ after the Descent from the Cross, Surrounded by Mary and Angels," is rendered in charcoal and ink on paper. It's a truly striking image currently housed here at the Städel Museum. Editor: Immediately, I'm struck by its drama. It feels almost theatrical, the way the figures are posed and lit. Like a spotlight is hitting them on a stage. You know? The contrast is so heightened! Curator: Yes, the Baroque sensibility is very apparent in the dynamic composition and emotional intensity. Note how Van Dyck employs chiaroscuro to amplify the pathos of the scene. The light sculpts the forms, drawing our eyes to the central figure of Christ. Editor: It’s as if the shadows themselves are mourning, you know? And that almost sketch-like quality—the unfinished feel of the charcoal—somehow adds to the raw emotion, like this is grief caught in real-time. What is the significance of using charcoal for this subject, particularly compared to his use of color in paintings? Curator: That’s a penetrating observation. The charcoal lends itself to the immediacy and expressiveness crucial for capturing the anguish of the deposition. The sepia ink washes introduce atmosphere and further unify the composition through a nuanced tonal range. Editor: Right. I find it so interesting to look for the Baroque characteristics present in such an early sketch of his; it offers a lens through which we may view his evolution into his painted works. Curator: Precisely, it grants us insight into Van Dyck's process, showcasing how his preliminary studies emphasize expressive line and dramatic lighting. Editor: A sketch such as this, even so old, still moves me, even more than some elaborate compositions. Thanks so much for diving deeper! Curator: A keen reminder that art's emotive power need not always reside in sheer scale.