Dimensions: image: 254 x 327 mm
Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Leon Kossoff's "Christ after the Flagellation Contemplated by the Christian Soul (1)." It looks like an etching. It feels so raw and vulnerable, almost like a scream on paper. What stands out to you? Curator: It feels like a glimpse into Kossoff's own soul, doesn't it? The frantic lines, the barely-there figures... it's less about religious iconography and more about the human experience of suffering. It has a spiritual connection, almost existential. Editor: So, it’s more about the feeling than the literal depiction? Curator: Exactly! Kossoff's not illustrating a Bible story. He's exploring the echo of trauma, the way pain lingers and transforms us. I see it as a reminder that even in the darkest moments, there's still a flicker of something profound within us. Editor: That’s a really powerful way to look at it. I definitely see the suffering more now. Curator: Art has a way of doing that, doesn't it? Revealing the hidden depths in both the artist and ourselves.
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http://www.tate.org.uk/art/artworks/kossoff-christ-after-the-flagellation-contemplated-by-the-christian-soul-1-p11694
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This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, oil paintings by old masters; in this case Christ After the Flagellation Contemplated by the Christian Soul, probably 1628-9, by Diego Velazquez (1599-1660), owned by the National Gallery, London. Tate owns three prints by Kossoff after this Velazquez painting (Tate P11694-6). The artist’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. This print was never published as an edition; Tate owns the second trial proof.