This poignant figure is incredibly drawn, it is as if the line which depicts the Crucified Thief was segmented though staying indivisible.
The prowess the artist achieves shows his attachment to Mannerist past masters, but also to Cubism: Michelangelo and his followers, Picasso and his ones, are highly present here, but it is an absolute new way of creating. John J Gorman’s imaginary seems to have no limit, the contorted body conjures up a moving world, and the crucifixion, in all its horror, rhymes with a kind of dance.
Hellenistic Greek art is convoked too, and this drawing is, as so often, also a sculpture, a marble one, used in previous centuries, its construction is in line with the principles of a new art.
The bended head is an enigma, one can’t guess the features of the Thief’s face. It is as he had lost any identity. Hence, he represents each of us, our destiny, our condemnation and is extremely timeless.
It is a silhouette affected by shocks, ripe for disassembling, and miraculously contiguous, all kind of paradoxes the 16th century and Cubism, once again, have tempted to represent, though Michelangelo only didn’t fail.
Cruelty of fate, monstrosity of human judgment are incarnated in this dislocated though unified body, desolate, lost in an emptied space which gives birth to a majestic composition, as the figure is offset to the right, letting the rest of the page blank.
Extremely dynamic and though static because of the subject, this figure celebrates the rise of a new art, which carries the viewer away.