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Crucifixion in popular art, as with modern art, is sometimes used for its shock value. For example, a World War I Liberty bond poster by Fernando Amorsolo depicts a German soldier nailing an American soldier, his arms outspread, to the trunk of a tree. Crucifixion imagery is also used to make points in political cartoons.
The art critic Lucy R. Lippard has presented a constructive case for the formal value of Serrano's Piss Christ, which she characterizes as mysterious and beautiful. [8] She writes that the work is "a darkly beautiful photographic image… the small wood and plastic crucifix becomes virtually monumental as it floats, photographically enlarged ...
The Přemyslid Crucifix, modern replica, parish Church of St. James the Great, Jihlava. The cross of the Church of St. Maria im Kapitol in Cologne dating from 1304 [4] provided the model for the expressive anticlassical style of the 'mystical crucifixes' (crucifix dolorosum, Gabelkrucifix) that originate in the German Rhineland region.
The art critic Hugh Davies has suggested that of the three figures, that on the left most closely resembles a human form, and that it might represent a mourner at the cross. [16] Seated on a table-like structure, this limbless creature has an elongated neck, heavily rounded shoulders, and a thick mop of dark hair. [7]
Modern Roman Catholic churches and many Lutheran churches often have a crucifix above the altar on the wall; [10] for the celebration of Mass, the Roman Rite of the Catholic Church requires that "on or close to the altar there is to be a cross with a figure of Christ crucified". [11]
The cross design represents Christianity, and the characteristic shift of the center to the hoist side is early modern, first described as the Danish civil ensign (Koffardiflaget) for merchant ships in a regulation of 11 June 1748, which specified the shift of the cross center towards the hoist as "the two first fields must be square in form ...