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Lot Essay
In der Kunstgeschichte ist der Judaskuss ein immer wieder aufgegriffenes und sehr beliebtes Sujet, welches bereits von den grossen Meistern in Freskendarstellungen wie bei Giotto di Bondones La Cattura di Cristo (bacio di Giuda), 1304 bis 1306 in der Kapelle Scrovegni in Padua, Italien oder wie auch in Fra Angelico Freskenzyklus von 1437 bis 1446 in San Marco, Florenz festgehalten wurde. Auch skulpturale Überlieferungen der biblischen Szene, zum Beispiel in der Basilica Sagrada Familià in Barcelona oder die von Ignazio Jacometti angefertigte Skulptur OSCULO FILIUM HOMINIS TRADIS (Mit einem Kuss verrätst du den Menschensohn) in der Scala Santa von 1852 thematisieren die biblische Erzählung, welche besagt, dass Jesus von Nazaret durch seinen berufenen Apostel Judas Iskariot durch einen erhaltenen Kuss als Erkennungszeichen an die von Hohenpriestern ausgesandte Truppe verraten wurde. Louis Soutter nimmt die Thematik des Judaskusses, oder auch bekannt als Todeskuss, in seinem Werk Le baiser de Judas auf. Dieser Kuss, hinter dem sich statt Freundschaft Feindschaft verbirgt, ist das Sinnbild für den Verrat.
In the history of art, the kiss of Judas is a recurring and very popular subject, one that has already been used by the great masters in frescoes such as Giotto di Bondone's La Cattura di Cristo (bacio di Giuda), 1304-1306 in the Chapel Scrovegni in Padua, Italy, or, for example, in Fra Angelico’s fresco cycle from 1437 to 1446 in San Marco, Florence. Also, sculptural versions of this biblical scene, for example in the Basilica Sagrada Familià in Barcelona or the sculpture made by Ignazio Jacometti OSCULO FILIUM HOMINIS TRADIS (With a kiss, the Son of God is betrayed) in the Scala Santa of 1852, reference this story of how Jesus of Nazareth was betrayed by a kiss from his appointed apostle, Judas Iscariot, who used it as a sign to the troops sent by high priests. Louis Soutter adopts this theme of the kiss of Judas – also known as the kiss of death – in his work Le baiser de Judas. This kiss, behind which enmity instead of friendship is hiding, has become the very symbol of betrayal.
In the history of art, the kiss of Judas is a recurring and very popular subject, one that has already been used by the great masters in frescoes such as Giotto di Bondone's La Cattura di Cristo (bacio di Giuda), 1304-1306 in the Chapel Scrovegni in Padua, Italy, or, for example, in Fra Angelico’s fresco cycle from 1437 to 1446 in San Marco, Florence. Also, sculptural versions of this biblical scene, for example in the Basilica Sagrada Familià in Barcelona or the sculpture made by Ignazio Jacometti OSCULO FILIUM HOMINIS TRADIS (With a kiss, the Son of God is betrayed) in the Scala Santa of 1852, reference this story of how Jesus of Nazareth was betrayed by a kiss from his appointed apostle, Judas Iscariot, who used it as a sign to the troops sent by high priests. Louis Soutter adopts this theme of the kiss of Judas – also known as the kiss of death – in his work Le baiser de Judas. This kiss, behind which enmity instead of friendship is hiding, has become the very symbol of betrayal.