Studying the Crucifixion

Bold colours are a staple of Graham Sutherland’s work and something he wielded to evoke feeling or enhance a narrative, alongside his fluid and semi-abstract linework. The expressive way in which he draws and paints also translates into his sculpture.

Looking through Amgueddfa Cymru’s extensive collection of Sutherland’s sketches informed the approach to photographing his sculpture, ‘Crucifix Figure’. Numerous crucifix studies give us a real insight into his decisions around composition and colour that connects his work across media.

Sutherland's mixed-media Study for St. Matthew’s Church Crucifixion 1946 offers valuable insights into the nature of his drawing process. This remarkable work, shaded in soft blues and lilacs offset the hard-edged blacks of the drawing, particularly the deep oval around Christ's torso and legs. The spontaneous drawing of the Crucifixion is compressed within the demarcating lines of a square or container, much smaller than the overall support.

The vertical element of the cross contacts the bottom and top of this container, making it function like a load-bearing column within space. In contrast, the horizontal section of the cross fails to make contact with either side of Sutherland’s container; the Crucifixion lacks support in this sense. Christ’s arms appear spindlier against the over-emphasised horizontal section of the cross, as his stark body fails, particularly against the forces of gravity. In this sense, Sutherland’s Crucifixion references Matthias Grünewald’s Isenheim Altarpiece 1516.

Study for St. Matthew’s Church Crucifixion, 1946 is one of the most realised and thought through of Sutherland's many drawings on the Crucifixion. If you look closer, a hint of orange emerges from the side of Christ’s upper left leg, the same orange that makes up such a dominant component at the base of the Crucifixion in the final painting for St. Matthew’s Church, Northampton. 

In his work displayed at St Matthew’s Church, the interplay of blues and oranges creates both harmony and contrast. These colours evoke an emotional response. Within the blues, there is a sense of calm and tranquillity, while the orange introduces energy and dynamism. This contrast creates a tension, all within a structured composition.

By looking at Sutherland’s studies of the crucifix at Amgueddfa Cymru, we can see a thought process at work, there’s an exploration of scale, composition and colour, all of which was extremely valuable in approaching the photography of his sculpture.

In the sculpture, the figure of Christ appears organic despite being formed from metal and marble, materials that feel rigid and unyielding.

Sutherland, known primarily for his painting and printmaking, ventured into sculpture when he was commissioned to collaborate with Louis Osman on the new cross for Ely Cathedral, unveiled in 1964.  In this work, Christ is suspended within an organic heart shape, which appears as an evolved interpretation of a Mandorla, an almond-shaped frame that surrounded figures to signify divinity and transcendence in medieval art. These forms and structures are echoed in Amgueddfa Cymru’s ‘Crucifix Figure’, creating a visual account of Sutherland’s highly personal reworkings of this widely depicted scene. 

When photographing Sutherland’s sculpture, we wanted to reflect the artist’s wider body of work within the frame. We did this by carefully using colour, along with light and shadow, to create a cohesive composition. Every aspect of Sutherland’s work was honed over time, and carefully considered, his techniques all help tell a story. Within these photographs of his sculpture, we’re celebrating his artistic voice and vision.

This article was written by James Milne and Rhian Israel, with photography by Rhian Israel.

The artworks from the national collection used in this article are: Crucifix Figure and Study for St Matthew's Church Crucifixion, both © Graham Sutherland Estate/Amgueddfa Cymru - Museum Wales

James Milne is an Art Technician for CELF, the national contemporary art gallery for Wales, who is passionate about working with the national art collection. He is also a practising artist with a particular interest in the complex relationship between art and architecture. James is also undertaking a practice-led PhD at the University of South Wales.

Rhian Israel is a Cultural Heritage Photographer for CELF and is based at Amgueddfa Cymru. She is passionate about making art accessible to everyone and capturing visually engaging imagery, to tell the story of our National Collection.