Manet's technique in this effect is impersonal and detached. His figures, two angels and the dead Christ, show up to be presented to us without any interpretation by the painter other than to routine them as objected and subjects for painting. Manet makes extreme use of assess contrast in this work and the blinding light that comes from the Christ figure and the faces of the angels is straightway striking and captivating in a work whose size is as big as the stature of its subject. We see that Manet uses a single high tonality for the flesh. He uses bold broom strokes and it places that he then dabs portions of black to represent eyes, brows, and the wounds inflicted by the Crucifixion.
In this work the brushstrokes be applied in such a way that the emphasize what many artists for years tried to conceal, that the sail is one dimensional. Many artists used techniques to make the canvas appear as a window through which we viewed things, things presented to us with depth. Manet's exertion of paint if rough and built up as if to motivate the viewer that this is a flat pain covered with dabs of paint. The value contrasts are so bright, we can barely look right away at the Christ figure without some
Like the actual historical entity himself, we see that we are awed and blinded by the magnificence of the light emanating from Christ's carriage in this work. However, we do see Manet move away from the distinctive narrative of this historical event in that the dress of the women and the visual aspect of the Christ and angels, whole appear more contemporary than historical persons. Further, there is an additional wound on the Christ, below his m whole under his breast, that is not a part of the historical fab happening.
discomfort from the light reflecting off of his body and garment.
Yet, despite all the fierce brutality in the work, it is a beautiful rendition of the historical event, i.e., a romantic deporting that serves to undermine the brutality of human nature by reaffirming and highlighting the beauty of all nature. Even the wind which appears to be blowing across everything in the painting is glorified through technique. The brushed swirls used by Delacroix that render the painting closer to impressionism than realism, are also a marrow of adding movement to the work. The billowing smoke from the castle, the loose, flowing garments of the figures, the mane and shag hairs on the horse, the clouds in the sky, and the long hair of Rebecca all appear to be moving because of wind, an impression that is underscored by the use of the swirling coating and blurring of distinct lines.
Manet, E. The Dead Christ with Angels. Available at: hypertext transfer protocol://www.usc.edu/schools/annenberg/asc/projects/comm544/library/images/637bg.jpg, December 2000, 1.
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