An introduction to the works of Christina de Vos (2)
Cut loose from the safe moorings of academia, Christina de Vos had to reinvent her schooling. Formal training taught her she was capable of producing great art – now all she had to do was to find a humanly feasible way to reattain that premature quality. Up the hill backwards, she began drawing from paintings and sculptures she admired, most notably Grünewald’s sorrow-laden, pain-drenched Isenheim Altarpiece.
Grünewald’s world isn’t all that different from that of Christina’s academic works: she continued depicting man’s inhumanity to man, but made it bearable by seeing it through the eyes of a fellow artist. This copying business is not what an autonomous artist is supposed to do, but just look at all those wonderful drawings! Those are not mere sketches; those are accomplished, mature drawings that perfectly capture the essence of the paintings from which they are derived.