The Risen Christ

Columnar Verticality: The figure is strikingly vertical and columnar, reminiscent of Gothic portal statues (like those at Chartres Cathedral) or Romanesque carving. The body is wrapped tightly in burial cloths (shrouds) that emphasize this rigid, pillar-like form. This restriction suggests the constraints of the tomb from which he has just emerged, or perhaps the binding nature of death itself. Hieratic Stance: Christ stands completely frontal and rigid, commanding attention with an authoritative, almost accusatory presence. This is not a dynamic, moving figure but a static icon of judgment and suffering. The Gestures: The hands are disproportionately large—a hallmark of Epstein's expressionist style. The right hand is raised slightly, open and displaying the wound of the nail. The left hand points directly to this wound. This gesture forces the viewer to focus on the physical evidence of suffering and sacrifice. It is a demand for recognition: "Look what you have done." Face and Features - Non-Traditional Physiognomy: Epstein deliberately rejected the "Aryan" or Europeanized Christ common in Western art. Instead, he modelled the head based on his friend, the Dutch-Jewish composer Bernard van Dieren, who was ill at the time. The features are distinctly Semitic—high cheekbones, a strong nose, and a brooding expression. This asserts Christ's Jewish identity, challenging the anti-Semitism prevalent in 1920s Europe. Expression: The face is serene but stern, often described as "accusing" or "pitying" rather than triumphant. It lacks the halo or radiant glory of traditional Resurrection scenes.

Bronze Casting: The work is cast in bronze using the lost-wax process, but it retains the textural quality of the clay from which it was modelled. The surface is not smoothed to a classical finish; instead, it is rough, pitted, and uneven. This tactile surface catches the light in fragmented ways, adding to the sense of raw emotion and vitality. Stylisation vs. Realism: The work combines realism (in the face and hands) with extreme stylisation (in the elongated body and drapery). The vertical folds of the robe are simplified into deep grooves, creating a rhythmic pattern that leads the eye upward to the head. This blend of the modern (expressionist texture) and the archaic (hieratic pose) creates a timeless quality.