This is Mihaly Munkacsy's (1844-1900) painting, Christ Before Pilate. And here is St. Mark's Gospel account of the event. We might keep the two in mind in our reflecting.
At the festival season the Governor used to release one prisoner at the people's request. As it happened, the man known as Barabbas was then in custody with the rebels who had committed murder in the rising. When the crowd appeared asking for the usual favour, Pilate replied, "Do you wish me to release for you the king of the Jews?" For he knew it was out of spite that they had brought Jesus before him. But the chief priests incited the crowd to ask him to release Barabbas rather than Jesus. Pilate spoke to them again: "Then what shall I do with the man you call king of the Jews?" They shouted back, "Crucify him!" So Pilate, in his desire to satisfy the mob, released Barabbas to them; and he had Jesus flogged and handed him over to be crucified. Mark 15: 6-1
The "festival season" Mark refers to the annual celebration of Passover - the Jewish people remembering with grateful hearts God's lifting them out of their oppression through death, to a new life. And Jesus is beginning his own Passover, lifting humankind out of sin and the darkness which oppresses us.
At the start of this sacred action, Jesus' life is already being exchanged for a murderous rebel, Barabbas. Perhaps Barabbas is an image of humankind, which in countless ways throughout history, rebels against life.
Far from Rome, at the end of the Mediterranean, Pilate is governor - Caesar's man, sent to manage the Jews. All executions require Rome's seal of approval - that's why Pilate is integral to this story. The artist depicts Pilate as tense and vexed; he knows what the religious officials are up to. They want Jesus dead because he is more popular than they. The original sin is power. Their power is being threatened by the non-power of Jesus.
Notice that no where in the Gospel does Mark blame the Jews for the death of Jesus - just some religious officials. We understand.
And these leaders incite the crowd. Munkacsy has captured this moment. We see men with heads together; whispering their conspiracy theories. The religious spokesman delivers his case with great dramatic effect. The crowd is making a lot of noise. The poor, dim fellow in the blue coat on the left is trying to figure it out - Should I join in? History isn't done with this kind of low-end behaviour: white supremacist processions and political rallies. And right in the middle of it all is a mother with an infant. She is gentle and protective.
But look at how the artist has depicted Jesus, who is dressed in a brilliant white robe. He stands nobly and victorious against the shadowy crowd. One art commentator says that Mankacsy was disappointed in his changing world - full of doubts and fears. It's not unlike our own world and cultural scene: so much invoking of religion, religious freedom and religious rights - but also so much self-righteous, fearful-anger and hatred, especially hatred of the others.
