Salvador Dali’s Christ Of Saint John Of The Cross stands as a monumental work within his oeuvre, captivating viewers with its unique perspective and profound religious intensity. Painted in 1951, this iconic artwork is arguably the most renowned of Dali’s religious pieces, dominating attention wherever it is displayed. The painting’s composition is immediately striking: Christ is depicted on the cross, not from the typical frontal view, but from an aerial perspective, looking down upon the tranquil Bay of Port Lligat. This unusual viewpoint is central to the painting’s power and meaning.
The genesis of this powerful image lies in a drawing by Saint John of the Cross himself. This drawing, carefully preserved at the Convent of the Incarnation in Avila, Spain, was created by the saint after experiencing a mystical vision of Christ during a state of ecstasy. Dali, deeply moved by this depiction and guided by Father Bruno, a Carmelite monk, drew direct inspiration from Saint John’s sketch. He sought to translate the spiritual intensity of the vision into his own artistic language.
Dali’s creative process for “Christ of Saint John of the Cross” was further enriched by a personal “cosmic dream” he experienced in 1950. As Dali himself explained, this dream presented him with a color image he perceived as the “nucleus of the atom.” This initial concept evolved in his mind, taking on a metaphysical dimension where the “nucleus” transformed into a symbol of the universe’s unity, ultimately embodied by Christ. This deeply personal and almost scientific approach to religious iconography is characteristic of Dali’s unique artistic vision.
Further elaborating on the painting’s geometric construction, Dali noted the crucial role of geometry in its composition. He meticulously “worked out geometrically a triangle and a circle,” believing these shapes aesthetically summarized his artistic explorations up to that point. He then consciously inscribed his figure of Christ within this geometric framework, adding another layer of symbolic meaning to the artwork. The figures of the fishermen in boats below the cross are not arbitrary additions. Dali incorporated these figures from artistic sources, drawing inspiration from a painting by Le Nain and a drawing by Diego Velazquez, specifically from Velazquez’s preparatory work for “The Surrender of Breda.” These borrowed figures ground the celestial vision in a more earthly, relatable scene, enhancing the painting’s complex interplay between the divine and the human.
Despite its current iconic status, “Christ of Saint John of the Cross” initially faced a less than enthusiastic reception. Upon its first exhibition in London, a prominent art critic dismissed the work as “banal.” However, public reaction and subsequent events proved the critic profoundly wrong. Years later, while hanging in the Glasgow Museum, the painting was attacked by a fanatic, slashed in a dramatic act of vandalism. This incident, ironically, served as undeniable “proof of its astonishing effect on people,” as the original article notes. The very act of violence against the artwork underscored its potent impact and its ability to provoke strong emotional responses, solidifying its place as a powerful and enduring image in 20th-century art. Dali’s “Christ of Saint John of the Cross” continues to resonate with viewers, prompting contemplation on faith, perspective, and the enduring power of art to evoke profound emotions.
