Who painted The mocking of Christ?

The mocking of Christ was painted by Anthoni Schoonjans in 1700.

Where can I see The mocking of Christ?

The mocking of Christ is held by Kunsthistorisches Museum.

What movement is The mocking of Christ?

The mocking of Christ is associated with Flemish Baroque painting.

Artwork

The mocking of Christ

Anthoni Schoonjans , 1700

The mocking of Christ is an oil painting by the Flemish Baroque painting artist Anthoni Schoonjans. It dates from 1700 and is held in the collection of the Kunsthistorisches Museum.

About this work

Overview

Anthoni Schoonjans, a Flemish painter active around the turn of the 18th century, executed The Mocking of Christ in 1700. The work is an oil painting that forms part of his series of history subjects, and it is presently owned by the Kunsthistorisches Museum in Vienna.

Subject & Meaning

The composition portrays a biblical episode in which a nude Christ is seized by two figures. One assailant leans forward, his arms bound behind his back, while a second, clad in armor, lifts a round object that suggests a weapon or instrument of mockery. The scene captures a moment of humiliation and physical restraint.

Technique & Style

Rendered in the Flemish Baroque idiom, the painting employs dramatic chiaroscuro: a concentrated light source illuminates the central figure’s pale flesh, contrasting sharply with the surrounding darkness. The reflective surface of the armored figure’s helmet catches the light, enhancing the three‑dimensionality of the forms.

History & Provenance

Schoonjans, trained in Antwerp, spent much of his career serving as a court painter in cities such as Vienna, Copenhagen, Berlin, and Düsseldorf. The Mocking of Christ entered the Kunsthistorisches Museum’s collection, where it remains on display as an example of his religious output.

Context

Created at a time when religious narratives were frequently depicted with heightened emotional intensity, the work reflects the broader Baroque interest in theatricality and the physical expression of spiritual suffering. Its somber palette and stark lighting align it with contemporary Flemish interpretations of biblical drama.