Christus tussen Johannes de Doper en Maria 1924

Lodewijk Schelfhout created this work, "Christus tussen Johannes de Doper en Maria," in the early 20th century. Note the three crosses atop the hill in the background, a direct reference to Golgotha, the site of Christ's crucifixion, as well as the figures of John the Baptist and Mary, who flank the central figure of Christ. Consider the gesture of Mary, her hand gently placed on Christ's head. This echoes images of mourning mothers from antiquity, a visual trope that recurs throughout art history. It also calls to mind the Pietà, a recurring motif depicting the Virgin Mary cradling the dead Christ, underscoring themes of maternal sorrow. The emotional weight of this image rests heavily on this simple gesture. We are reminded that such motifs have traversed centuries, shifting in meaning and yet retaining a primal connection to our shared human experiences. The collective memory embedded in these symbols engages us on a subconscious level, evoking empathy and a profound sense of shared suffering. This visual language highlights how certain symbols reappear in different contexts, perpetuating a cyclical progression, and continually evolving.