Christ on the Cross, between the Thieves 1548

Editor: So, here we have Maarten van Heemskerck's pen and ink drawing, "Christ on the Cross, between the Thieves," created in 1548. It’s held at the SMK in Copenhagen. I’m struck by how much is going on – a real frenzy of figures and emotions. What catches your eye when you look at this? Curator: The first thing that leaps out is, of course, the theatricality. Heemskerck isn't just depicting a scene, he's staging a drama. The cross isn't just an instrument of death, but a literal stage around which all these characters – the brutal executioners, the distraught mourners – perform their parts. Do you see how some figures are hyper-muscular and others look softer, more grief-stricken? It's almost like a casting call for different emotional registers. Editor: That's a great way to put it! I do notice the exaggerated anatomy now that you mention it. But it almost feels…unbalanced? Is that intentional, this emphasis on the physicality of the moment? Curator: Absolutely intentional! Heemskerck, being a Mannerist, loves to play with proportions, creating a sense of unease. And consider the medium. Ink on paper isn’t the most subtle; it has this immediate rawness that really amps up the emotional voltage. It reminds me of the way Caravaggio uses light – that spotlight effect but in line-form. It's meant to jolt us, to confront us. I see the history in the narrative. What resonates with you? Editor: I think the complexity and theatricality you pointed out made me look beyond the kind of standard iconic religious portrayal and realize how much storytelling a single image can contain. It is more about history than religion maybe. Thank you. Curator: Exactly. I'm glad that together, we could delve into its richness.