Várhelyi Ilona: Bibliával Munkácsy Krisztus-trilógiája előtt (Debrecen, 2009)
Abstract
even of the Law. Munkácsy identified with the latter interpretation when choosing the title „Consummatum est" ("It is fulfilled"). This immense work directly followed Christ before Pilate in Munkácsy's oeuvre. (Ecce Homo was painted much later, in 1896, the millennium of the Hungarian conquest, whereas Golgotha was completed three years after Christ before Pilate) Munkácsy was struggling with the idea of resurrection, which was partly a test of his personal faith, partly facing the barriers of artistic expression. In the Golgotha scene he wanted to depict life, death and resurrection simultaneously, therefore, once again he had to expand the realistic framework towards symbolism. The dramatic colour scheme is to emphasise the cosmic significance of the depicted event. Against the background of the darkening sky it is the white surfaces again that play an important compositional role. Our first look is attracted by the whiteness of the crucified body made to emerge from the darkness with methods of spatial representation. Our next look falls on the second white spot, the thought-provoking figure of the so-called "Arabic horseman". The prologue of John's gospel is brought to mind: "In him was life, and that life was the light of men. The light shines in the darkness, but the darkness has not understood it" (John 1:4-5). Munkácsy tries to avoid the simplified solution that the two compositional units should correspond to the forces of good and evil respectively. Instead, he doubles both the directions of movement and the emotional states. The mourners under the cross are at the same time dynamic and peaceful in their grief. The crowd's main stream of movement leads away from the cross. Having finished his job, the executioner leaves for home, his ladder directing our eyes to the other main character, the man on horseback. This act of pointing suggests that the horseman cannot be regarded as just one of the numerous figures in the painting; his character carries much more meaning than that. While contemplating the scene, we are probably expected to hear the words of the four gospels together. Munkácsy breaks with convention by depicting Jesus still alive and not after he has given up his spirit, apparently because he wants us to hear the Master's words in the present forever. His misery, the way he is treated and the mocking words - "He trusts in God. Let God rescue him" (Matthew 27:43) — remind Jesus of Psalm 22: "My God, my God, why have you forsaken me?"; and he hopes the Pharisees, well-versed in the Scriptures, are able to continue in their minds this prayer of forlornness and trust and realise what is being "fulfilled" at the moment. 10 10 "Dogs have surrounded me: a band of evil men has encircled me, they have pierced my hands and my feet. I can count all my bones; people stare and gloat over me. They divide my garments among them and cast lots for my clothing. But you, 0 Lord, be not far off; 0 my Strength, come quickly to help me" (Psalm 22: 16 - 19).
