Bradon Thomason
April 11, 2022
Art History 202 – Section 004
Crucifixion Triptych and The Imitation of Christ
In his art piece—Crucifixion Triptych, painted in 1440—Rogier van der Weyden depicts
a sorrowful, yet remarkable scene of the crucified Savior outside Jerusalem. At his feet lies his
mother, Mary, in complete anguish with John at her side. Others also mourn for the crucified
Lord, including Mary Magdalene in the left panel, and a man and a woman at the foot of the
cross—presumably the patrons who commissioned this piece. At the center of it all, the Lord
Jesus Christ hangs lifeless from the cross, with Jerusalem resting quietly in the background.
Interestingly, there is one woman who is not focused on Christ on the cross. Instead, she is lifting
up a rag with a depiction of Christ on it—an important element to northern European art in the
1400s. As a whole, this art piece is a product of the patterns, style, beliefs, writings, and ideas of
art in this era. Representing the style and culture of fifteenth-century Northern European art,
Rogier van der Weyden’s, Crucifixion Triptych (1440), focuses on creating an immersive
experience that invites people to reflect upon their own personal devotion to the Lord Jesus
Christ, an idea illuminated by the fifteenth-century text, The Imitation of Christ, by Thomas à
Kempis (1418-1427).
Like most art, fifteenth-century Northern European art was a product of its current time
and the ideas that came before. Particularly, Aristotle-ideology helped shape the genre and
details of artists in this European era. Aristotle proposed that an understanding of the world
comes through personal observation and experimentation, which inspired artists to focus on
minute details in their works. This era also marked the widespread use of oil paint. Oil doesn’t
dry quickly and can be applied in multiple layers, allowing time to manipulate the colors to
create incredibly fine details. Consistent with the artists of his era, Rogier van der Weyden is
dedicated to creating fine detail in his piece, Crucifixion Triptych, down to the individual
windows on distant buildings in the background. Up close, the men and women at the feet of
Christ convey deep emotion for their crucified Lord. Rogier even paints the mother, Mary, with
red skin under her eyes, just like a person would have from long intensive-crying.
In addition to formal artistic elements, the Crucifixion Triptych also integrates several
religious ideas from fifteenth-century Northern Europe. In the right panel of the triptych, St.
Veronica is holding up her veil which has the face of Christ imprinted upon it. This element
illustrates the religious belief known as “Soul Formation.” Based on the scripture that men are
created in the image of God, Christians believed that our inner soul—our inner nature—was also
like God’s. When Adam fell, man’s soul was scarred, and so our goal in this life is to again make
our inner soul “look” like the image of God, by changing our desires and nature to become like
His. Artists of this era often reflect this by showing figures in the posture of Christ—or as Rogier
van der Weyden depicts—figures holding images of Christ.
Another integral religious aspect of the Crucifixion Triptych is the integration of the two
figures in black at the Savior’s feet. This man and woman are likely the patrons of this artwork,
and they, like many fifteenth-century art patrons, had themselves depicted in the piece for the
salvation of their souls. In that time, it was believed that we can pray for souls in purgatory to
help them receive forgiveness and move onto to heaven. God listens to the prayers of all, but it
was also believed that God more-readily answers the prayers of his righteous followers, and so
patrons would commission art for monasteries and churches so that the priests, monks, and
everyone who came to worship could pray for their souls. Like the patrons of the Crucifixion
Triptych, some would even go a step further, having themselves included in the painting itself in
order to show their repentance, faith, and dedication to the Lord.
The religious ideas and beliefs of the fifteenth-century were not only portrayed in
artwork. Many written texts also sought to capture the religious values of the time (which were
dominantly rooted in the Catholic Church) and convey meaning and reflection to their audience.
One such example is a book written by Thomas à Kempis, while living in a Carthusian
Monastery in (what is now) the Netherlands. In its entirety, his work, The Imitation of Christ,
seems to convey one very central message: in life we will suffer tribulation and sorrow. And
being a follower of Jesus Christ, we will suffer even more tribulations and sorrow for Him. All
of this is for good. If we will humbly endure our tribulations for Christ, then He will sweep us up
in his glory and love, into his eternal kingdom of joy and rest. “If thou willingly bear the cross it
will bear thee, and will bring thee to the end which thou seekest, even where there shall be the
end of suffering.” This message is conveyed over and over again in the words of this book. And
what a powerful message to proclaim! Especially considering the cultural context of this people.
This is Northern Europe in the fifteenth-century. This may have been the Renaissance, but there
was still a great deal of suffering for the average person: disease, starvation, loss of family, and
so on. A message that teaches that, people’s suffering will come back to grant them rest with the
Lord, inspires a lot of hope for the future and faith in the Lord.
I find The Imitation of Christ and the Crucifixion Triptych to both be very inspiring
pieces. Yet, by my first impression I find them to be in conflict with one another. Consider the
following line from the text:
“In the cross is health, in the cross is life, in the cross is protection from enemies, in the
cross is heavenly sweetness, in the cross strength of mind, in the cross joy of the spirit, in
the cross the height of virtue, in the cross perfection of holiness.”
It is a beautiful depiction of the marvelous joy that is a result of the sacrifice of our Lord Jesus.
Now consider the imagery portrayed in the painting: one of the grand features of the Crucifixion
Triptych is the deep emotion that is conveyed on the faces of people at the feet of Christ. As you
gaze into the painting, you can almost feel their anguish for the one they love. However, even
though these feelings of mourning are supposed to invite feelings of gratitude for what the Lord
has done, the overwhelming atmosphere of the painting is still one of sorrow and loss. The dark
angels that witness the crucifixion—as if this is their victory—only add to this feeling, and the
edges of the painting seem to darken from the rest of the vibrant colors of the painting, creating a
subtle air of gloom.
Both the text and the painting are describing the sacrifice of Jesus Christ, and yet initially
they feel like they are in contrast with one another. To the reader’s fortune, Thomas à Kempis
offers a passage that seems to bridge this confusing gap:
“Take up therefore thy cross and follow Jesus, and thou shalt go into eternal life. He
went before thee bearing His Cross, that thou also mayest bear thy cross and mayest love
to be crucified upon it. For if thou be dead with Him, thou shalt also live with Him, and if
thou be a partaker of His sufferings, thou shalt also be also of His glory.”
Alone, the painting can give an aura of only grief and pain. But by describing, “if thou be a
partaker of His sufferings, thou shalt also be also of His glory”, the scene of the despairing Mary
and grieving disciples sparks hope and love, knowing that as we suffer with Christ, we shall be
glorified with him as well. It takes the viewer beyond the present sorrowful moment of the
painting, and into the future of what Christ sacrifice means for your life, and ultimate salvation.
In the end, whether it takes the form of fine paintings or eloquent writing, art of this era
was meant to be a “window on the world.” In the Crucifixion Triptych, you’re swept up into the
sorrowful moment of the Savior’s crucifixion. And you can’t help but ask yourself, “Do I truly
appreciate the sacrifice that He has made for me?” In another spiritual whirlwind, The Imitation
of Christ lifts you up in the joy and hope of Christ. You enter an immersive experience where
you ask yourself, “Am I willing to suffer and sacrifice for the Lord?” In their own separate ways,
these works of art work together to serve the same purpose: to envelope the viewer into a
personal self-reflection upon their faith in the Lord Jesus Christ.