Marble
University of Notre Dame
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China Christ

Date

1946

Creator

Milton Avery

Location

Raclin Murphy Museum of Art

For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)

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For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)
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  • For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)
  • For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)
  • For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)
  • For an artist who is best known for his powerful landscapes and studies of the figure, he chose Christ the Savior, tied to a column during the flagellation. While the simplified forms of the cross-armed figure suggests an image of a potter at his wheel, a black line, extended from Christ's raised right heal [sic], is a key to this enigmatic painting. During their visit, while Mrs. Avery went shopping, the artist remained behind in their hotel room. Avery became fascinated with a porcelain figurine on the nightstand and painted it. A metal pin attached the Christ figure to the porcelain's base. from Porter, "25th Anniversary of the Snite Museum of Art" (American Art Review, 2005)
Milton Avery (American, 1885 or 1893 - 1965)
1946
Paintings
Oil on canvas
1992.009
<post-1945 fine arts styles and movements>
American
Christianity
figurative art
Jesus Christ
religious art
© Milton Avery Trust/Artists Rights Society (ARS), New York
Not on view, please request access
47 7/8 x 32 in. (121.6 x 81.28 cm)
Gift of the Milton Avery Trust

Our collection information is a work in progress and may be updated as new research findings emerge. If you have spotted an error, please contact Raclin Murphy Museum of Art at RMMACollections@nd.edu.