Head of Christ 1585 - 1631

Editor: This is Jacob Matham's "Head of Christ," a drawing from around 1585 to 1631, here at the Met. There's something so immediate about it, despite the age—it's like a quick sketch capturing a profound stillness. What do you see in this piece, in terms of how it draws upon older visual traditions? Curator: Indeed. Consider how Matham uses the halo not just as a symbol of divinity but as a visual echo, almost an aura extending from Christ’s head. It evokes centuries of symbolic representation, yet he renders it with such stark simplicity. Look closely; does this simplicity amplify or diminish the spiritual weight for you? Editor: It makes it more accessible, maybe? Less ornate than other depictions. But why represent Jesus in profile? Curator: The profile view, rather than a direct gaze, often signals contemplation, an inner world. Think about Roman portraiture and the weight of imperial power communicated through profiles. Here, it’s inverted – power comes from within. This deliberate choice by Matham, echoing classical forms, what emotions does that spark, and do you think it enhances its power? Editor: I hadn't considered that historical link! It makes me think of quiet strength, rather than overt authority. So the artist consciously reinterpreting traditional images. Curator: Exactly. These echoes are rarely accidental. Matham utilizes established visual vocabulary, such as the Baroque line work, yet he subtly redirects them, reshaping our understanding and experience. Symbols persist and mutate across generations. The "Head of Christ," manages both reverence and reinterpretation, don’t you think? Editor: Definitely. Thinking about it all, the simplicity amplifies its emotional weight. Curator: Agreed, and cultural memory allows artists to continuously reimagine iconic forms.