Limp Collection

Healthy hand. Hand of a human arm that is bent at the wrist

Samson Betrayed, 1850 (oil on canvas)
940195 Samson Betrayed, 1850 (oil on canvas) by Pickersgill, Frederick Richard (1820-1900); 243.8x306 cm; Manchester Art Gallery, UK; © Manchester Art Gallery

The Lamentation over the Dead Christ, 1635 (oil on canvas)
471196 The Lamentation over the Dead Christ, 1635 (oil on canvas) by Dyck, Anthony van (1599-1641); 114x207 cm; Koninklijk Museum voor Schone Kunsten, Antwerp

The Lamentation over the Dead Christ, c. 1629 (oil on canvas)
471197 The Lamentation over the Dead Christ, c.1629 (oil on canvas) by Dyck, Anthony van (1599-1641); 114x207 cm; Koninklijk Museum voor Schone Kunsten, Antwerp

Descent from the Cross (oil on canvas)
471261 Descent from the Cross (oil on canvas) by Rubens, Peter Paul (1577-1640) (studio of); 125x92 cm; Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium; © Art in Flanders

Deposition, from the Orsini Polyptych (tempera on panel) (see also 471172-5)
471174 Deposition, from the Orsini Polyptych (tempera on panel) (see also 471172-5) by Martini, Simone (1284-1344); 24x15 cm; Koninklijk Museum voor Schone Kunsten, Antwerp

Epitaph of Jan Michielsen and his wife Maria Maes, 1618 (oil on panel)
471134 Epitaph of Jan Michielsen and his wife Maria Maes, 1618 (oil on panel) by Rubens, Peter Paul (1577-1640); 138x178 cm; Koninklijk Museum voor Schone Kunsten, Antwerp

The Death of Hyacinth, 1920 (oil on canvas)
1769782 The Death of Hyacinth, 1920 (oil on canvas) by Morley, Harry (1881-1943); 95.4x109.3 cm; Private Collection; (add.info.: The Death of Hyacinth. Harry Morley (1881-1943). Oil on canvas

The Body of Christ Carried by Angels towards Heaven, 1516 (woodcut)
5858423 The Body of Christ Carried by Angels towards Heaven, 1516 (woodcut) by Grien, Hans Baldung (1484/5-1545); 22.3--15.2 cm; Metropolitan Museum of Art, New York, USA

Pieta, c. 1750 (oil on canvas)
ALM403393 Pieta, c.1750 (oil on canvas) by Italian School, (18th century); 154.9x99.7 cm; Allen Memorial Art Museum, Oberlin College, Ohio, USA; © Allen Memorial Art Museum; Mrs. F.F

Crucifixion (polychrome wood)
875177 Crucifixion (polychrome wood) by Italian School, (15th century); Museo e Galleria Mozzi Bardini, Florence, Tuscany, Italy; © Giuliano Valsecchi; Italian, out of copyright

Pieta (chalk on paper)
2637293 Pieta (chalk on paper) by Buonarroti, Michelangelo (1475-1564) (after); 28x20.8 cm; Private Collection; Photo eChristies Images; Italian, out of copyright

The Lamentation (oil on slate)
CH438372 The Lamentation (oil on slate) by Farinati, Orazio (1559-after 1616); 33x27.9 cm; Private Collection; Photo eChristies Images; Italian, out of copyright

Menelaus supporting the body of Patroclus, copy of a Greek original (marble)
3742664 Menelaus supporting the body of Patroclus, copy of a Greek original (marble) by Italian School; Palazzo Pitti, Florence

Saved, 1889 (etching on cream wove paper)
877258 Saved, 1889 (etching on cream wove paper) by Homer, Winslow (1836-1910); 65.4x89.5 cm; Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, USA; American, out of copyright

Cleopatra, late 19th century (oil on canvas)
491788 Cleopatra, late 19th century (oil on canvas) by French School, (19th century); 68.5x101.5 cm; Private Collection; Photo eChristies Images; French, out of copyright

Studies for the Pieta Rondanini, c. 1552 (chalk on paper)
AMO276544 Studies for the Pieta Rondanini, c.1552 (chalk on paper) by Buonarroti, Michelangelo (1475-1564); Ashmolean Museum, University of Oxford, UK; eAshmolean Museum; Italian, out of copyright

Finnish steamer Wiima limping into Aberdeen harbour after a North Sea storm, April 1935. 1935

The Death of Abel (oil on canvas)
1215210 The Death of Abel (oil on canvas) by Wood, John (1801-70); 127.3x101.9 cm; Shipley Art Gallery, Gateshead, Tyne & Wear, UK; eTyne & Wear Archives & Museums; English, out of copyright

Menelaus supporting the body of Patroclus, copy of a Greek original (marble)
3742666 Menelaus supporting the body of Patroclus, copy of a Greek original (marble) by Italian School; Palazzo Pitti, Florence

Nude seated and turning away, grasping a staff in his left hand (red chalk on white paper
CTS366762 Nude seated and turning away, grasping a staff in his left hand (red chalk on white paper) by Maratti, Carlo (1625-1713); 48.6x40.8 cm; eThe Devonshire Collections

The Death of Hyacinth, 1920s (oil on canvas)
489216 The Death of Hyacinth, 1920s (oil on canvas) by Morley, Harry (1881-1943); 95.4x109.3 cm; Private Collection; Photo eChristies Images; English, out of copyright

The Lamentation of Christ (oil on panel)
DAY235423 The Lamentation of Christ (oil on panel) by Janssens van Nuyssen, Abraham (1575-1632); 94.6x121.3 cm; The Dayton Art Institute, Dayton, Ohio

The Dead Christ, c. 1500 (marble)
DAY234987 The Dead Christ, c.1500 (marble) by Solari, Cristoforo (1468-1524); height: 68.6 cm; The Dayton Art Institute, Dayton, Ohio

Menelaus supporting the body of Patroclus, copy of a Greek original (marble)
3742665 Menelaus supporting the body of Patroclus, copy of a Greek original (marble) by Italian School; Palazzo Pitti, Florence

Lamentation for Christ, 1510 (woodcut)
5858424 Lamentation for Christ, 1510 (woodcut) by Grien, Hans Baldung (1484/5-1545); 22.7A--15.7 cm; Metropolitan Museum of Art, New York, USA; German, out of copyright

Pieta (tempera on panel)
938021 Pieta (tempera on panel) by Pavias, Andreas (d.1504); Museo Diocesano, Rossano, Italy; eGiuliano Valsecchi; Cretan, out of copyright

Pieta, 1498-99 (marble)
875107 Pieta, 1498-99 (marble) by Buonarroti, Michelangelo (1475-1564); St. Peter s, Vatican City; eGiuliano Valsecchi; Italian, out of copyright

The Crucified Christ Enframed with Scenes of Martyrdom of the Apostles (oil on wood)
DAY235405 The Crucified Christ Enframed with Scenes of Martyrdom of the Apostles (oil on wood) by Francken, Frans II the Younger (1581-1642); 87.6x70.5 cm; The Dayton Art Institute, Dayton, Ohio

Pieta, c. 1430 (alabaster)
DAY235426 Pieta, c.1430 (alabaster) by German School, (15th century); 32.5x33 cm; The Dayton Art Institute, Dayton, Ohio, USA; eDayton Art Institute; Museum purchase with funds provided by the 1970

Guam: A Man with Elephantiasis, from Voyage Autour du Monde sur les Corvettes de
TRV173970 Guam: A Man with Elephantiasis, from Voyage Autour du Monde sur les Corvettes de L Uranie 1817-20 engraved by Choubard, published 1825 (engraving) by Arago

HOUASSE, Michel-Ange (1680-1730). The Harvest. Baroque art. Oil on canvas

The return of the defeated French army from Russia in 1813 (hand coloured engraving)
XPH335455 The return of the defeated French army from Russia in 1813 (hand coloured engraving) by German School, (19th century); Private Collection; German, out of copyright

A Curiosity in Ireland, Lady seated by the fire. London, 1814, a woman sitting on settee by fireplace. She wears a small hat trimmed with a feather, a short braided hussar jacket

The Death of Ferdinand Philippe Louis (1810-42) Duke of Orleans in Neuilly, 13th July 1842
XIR181874 The Death of Ferdinand Philippe Louis (1810-42) Duke of Orleans in Neuilly, 13th July 1842 (coloured engraving) by French School, (19th century); Musee de la Ville de Paris

A Curiosity In Ireland, Lady Seated By The Fire. London, 1814, A Woman Sitting On Settee By Fireplace. She Wears A Small Hat Trimmed With A Feather, A Short Braided Hussar Jacket

Priest or Chef
A limp-wristed priest (or chef)! Date: 1960s

Injured lion, conceptual artwork

Stars and Stripes, Liberty Island, New York City, New York, United States of America, North America

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"Limp: A Reflection of Fragility and Sorrow in Art" In the realm of art, the concept of "limp" transcends its physical connotation to evoke a deeper emotional resonance, and is through the portrayal of limpness that artists have captured moments of vulnerability, betrayal, and grief throughout history. One such depiction can be found in Samson Betrayed, an 1850 oil on canvas masterpiece. The healthy hand turned weak and powerless symbolizes Samson's loss of strength due to his treacherous lover Delilah. This limpness serves as a poignant reminder of trust shattered and consequences faced. Similarly, The Lamentation over the Dead Christ from 1635 portrays mourners grieving around Jesus' lifeless body with limbs hanging limply. Through this artistic choice, the artist communicates profound sorrow and despair felt by those who loved Him most. The Descent from the Cross painting captures another instance where limpness takes center stage. As Christ's body is carefully lowered down from the cross onto waiting arms, His limbs hang heavily – a powerful representation of sacrifice and redemption. Moving back in time to c. 1629, we encounter Deposition from the Orsini Polyptych. Here again, limpness becomes a visual language for conveying anguish as Mary cradles her son's lifeless form after his crucifixion - their shared pain palpable through their slackened bodies. Even beyond Christian imagery lies Epitaph of Jan Michielsen and his wife Maria Maes (1618), which showcases how artists utilized limpness across various contexts. In this oil on panel artwork commemorating deceased individuals lying side by side with hands gently folded over still chests; it evokes mortality while honoring their memory. Limpness also finds expression outside traditional paintings; take for example The Death of Hyacinth (1920).