Museum of the Bible’s new exhibition, Descent from the Cross, opened on Ash Wednesday, March 5, 2025. This exhibition explores how 21 artists across five centuries, multiple genres, and mixed media have visualized John 19, the moment Jesus is removed from the cross. This moment, traditionally called “Deposition” or “Descent from the Cross,” is not described in the Bible. There are no details explaining the process or who was present. Because of this, artists across the centuries have interpreted this emotional moment in unique and varying ways, each filling in the blanks with what they think might have happened. It has become a popular scene in art history, and thus a part of our shared visual language.
The earliest-known renderings of the scene appeared in the ninth century and soon became part of a cycle through the life of Christ and his passion, later known as the Stations of the Cross. But perhaps the most influential depiction was painted by Flemish master painter Rogier van der Weyden in 1435. This beautiful scene was completed shortly after the artist’s apprenticeship under Robert Campin. The unique shape of the composition and the cramped “box” that the characters occupy create a theatrical look, like that of a stage play or a diorama. The sharp angles and rich details reflect the late Gothic, early Renaissance styles of northern Europe, and the crossbows seen in the corners honor the patron of this piece, the Leuven Guild of Archers.
Descent from the Cross
Rogier van der Weyden
ca. 1435
Now housed at the Museo del Prado, Madrid
Van der Weyden’s choice of characters and their actions in the scene honors not only the biblical text surrounding Jesus’s death, but also church tradition. John 19:38 mentions Joseph of Arimathea requesting permission from Pilate to take Jesus’s body, and verse 39 says he was accompanied by Nicodemus. For this reason, these two men can often be seen as the ones physically removing Jesus’s body from the cross. Nicodemus is usually depicted as an older man with a beard, and Joseph of Arimathea is typically clothed in rich garments, referencing his social status.
Earlier in the chapter, it is noted that Jesus’s mother, Mary, was present at the time of Jesus’s death. In Van der Weyden’s painting, she can be seen swooning in agony at the base of the cross supported by the disciple John, who is also mentioned in the chapter. Traditionally, Mary is dressed in blue, symbolizing her transcendence, and John is dressed in red, symbolizing his importance to the church (a reference to cardinal robes). Three other women are also mentioned in this chapter: Mary’s sister, Mary the wife of Clopas, and Mary Magdalene. Some artists include all three, other artists include Mary’s mother, Anne. Mary Magdalene is usually depicted as younger and often with her hair uncovered. Additional figures may also be present to help remove Jesus from the cross.
Van der Weyden’s Descent from the Cross is a striking depiction of grief, seen not only in the faces of each figure, but in the slumped shoulders and bodies bent in anguish. It became a template for many artists in the years to come, one that can be seen in various forms in this exhibition, most directly in two gilded works by contemporary artist and exhibition collaborator, Sandra Bowden.
Deposition after Van der Weyden
Sandra Bowden (1943–)
United States
Mixed media drawing
2015
Altarpiece XII (Deposition after Van der Weyden)
Sandra Bowden (1943–)
United States
Gold leaf on encaustic panels
2017
Another influential depiction of the Descent from the Cross scene was done by Rembrandt van Rijn in 1634. His painting, and later etching, shows vast changes in Dutch style since Van der Weyden. Heightened drama, strong light, and exquisite shadows demonstrate Rembrandt’s masterly skill and inspired many artists in the following centuries. His work was printed and distributed across the world, reaching centuries beyond his life. This nineteenth-century print was made by Charles Amand-Durand by carefully recreating Rembrandt’s original plate, which had deteriorated from age and use.
Deposition
Design by Rembrandt van Rijn (1606–1669)
Print by Charles Amand-Durand (1831–1905)
The Netherlands
Etching
19th-century print
Rembrandt’s influence can be seen in other works in the exhibition, even in contemporary art that references his composition and strong contrasts.
De Afneming van het Kruis (The Descent from the Cross)
After Jean-Baptist Jouvenet (1649–1717)
The Netherlands
Engraving
1809
Deposition (after Rembrandt)
James Wilson
England
Etching and mezzotint
Late 20th century
Deposition
Wayne Forte (1950–)
United States
Etching
2004
As part of our shared visual language, artistic representations of the Descent from the Cross can be seen across the globe. The composition and figures may be similar, but the styles are regionally distinct and reflect local people, materials, and customs. This exhibition features two such global representations, one from Panama and one from Japan.
Descent from the Cross
Unknown artist
Panama
Mola (reverse embroidery on cloth)
ca. 1980
Descent from the Cross
Sadao Watanabe (1913–1996)
Japan
Katazome/Momigami print
1973
The feature piece in this exhibition is a contemporary installation by artist Theodore Prescott, who created a life-size representation of the Descent from the Cross with plaster casts of real people in modern clothing, bringing a tangible relatability to the biblical moment. He describes the work as such: “My Descent was based on historic depictions of the subject in painting and sculpture . . . [but] I did not try to recreate a historically accurate scene. This Descent takes place in a modern context, which is apparent in the clothing and materials. I imagined that the crucifixion might take place something like this today, even as I am grateful that it did not . . . and is not the end of the story.”
Descent from the Cross
Ted Prescott
United States
Plaster cast installation
1985–1987
Descent from the Cross will be open through May 5, 2025 at Museum of the Bible. Learn more about the exhibit here.
By Amy Van Dyke, Lead Curator of Art and Exhibitions
