#iconography

#iconography

The initial visual explorations began with reliefs, working with a static approach which allowed Saad to focus on how visuals could layer and live together later down the line. After they were sculpted and assembled in 3D animation, Saad began pulling out individual vignettes to explore motion, a key goal "was to keep things both sculptural and kinetic - balancing crafted moments of stillness against bursts of movement".

He argues that the "low-cut, rectangular neckline" of Christ's tunic is unprecedented both for a Renaissance depiction of Christ and for a male sitter "of an elevated social status". He says that in all other paintings of Christ of the period, Christ's tunic has a much higher collar close to the neck, and that a low-cut and embroidered neckline are typical for female portraits of the period such as Leonardo's La Belle Ferronnière (around 1493-94) in the Musée du Louvre.

Lev Skop paints images of saints and the Virgin Mary on wooden planks salvaged from used ammunition crates, delivering them to soldiers on the frontline.