Human figures, so creepy, so astonishing

For many, Easter Sunday is a time to reflect on one very important body, the one that rose from the dead to make thunderous proclamations and upend the world forever.

For me, Easter Sunday, a few days ago, was a time to reflect on scores of bodies congregated in a Manhattan museum, a reflection that furnished its own transcendence, its own religious experience, if you will.

These bodies — from the gorgeous to the gruesome; the hyper-realistic to the freakily figurative — comprise the knockout exhibit “Like Life: Sculpture, Color, and the Body (1300-Now)” at The Met Breuer, through July 22.

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The old and the new, juxtaposed.

“Like Life” nimbly and epically presents some 120 works spanning 700 years, from classical Greek to contemporary bad boy Jeff Koons, and oodles in between: Donatello, El Greco, Jean-Léon Gérôme, Rodin, Degas, Louise Bourgeois, Meret Oppenheim, Isa Genzken, Charles Ray, and so many more.

The show’s thrills (and chills) include an awesome array of wax effigies, reliquaries, mannequins and anatomical models — including graphic autopsy depictions — plus tiny-scale sculptures from the Renaissance and beyond. There is lots of nakedness.

My visit was a promenade amid faces and bodies, hands and limbs and heads, some bloody, some immaculate. Many of the life-size bodies, often made of wax, are so realistic I practically did double-takes. Once in a while I flinched and muttered, “Christ.

Juxtapositions with ancient and new figures are clever and provocative, almost none of them without wit and wonder. Throughout, spellbound, I contemplated mortality and deformity, the genius of art and the supremacy of the visionary. Gladly, I was just as often captivated as creeped-out. It’s a sweet and savory affair.

Below is part of the population crowding the best show I’ve seen since the Irving Penn photography exhibit at The Met last summer:

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Detail from “The Whistlers” (2005), a sculpture by Tip Toland. Jarringly realistic, profound and whimsical. Just look at that face.
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In “The Digger” (1857), is this skinless man shoveling his own grave? In the background, an especially grisly crucifixion from medieval Germany.
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Faces from the ages: Center is the ethereal “Mask of Hanako, Type E” by Auguste Rodin (1911). At right is “Self,” a frozen-blood self-portrait by Marc Quinn (2006).
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“Housewife” (1969-1970) by Duane Hanson. Commentary that is both witty and withering, this snapshot of quotidian, housebound tedium is a diorama of depression.
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“Michael Jackson and Bubbles” by Jeff Koons. A porcelain monstrosity that’s actually pretty hilarious depending on your mood and/or critical perspective. (I think the consensus is that it’s hideous.)
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“To the Son of Man Who Ate the Scroll” (2016) by Goshka Macuga, a speaking, moving android that pontificates with chilling verisimilitude about life, death and global concerns for 38 minutes. Eerie and mouth-agape mesmerizing, he’s the spiky, intellectual counterpoint to Disney’s anodyne animatronics.
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“Self-Portrait with Sculpture” by John De Andrea, 1980. These are not real people. The frontal view is firmly R-rated, the tableau slightly disturbing and thought-stirring and so true-to-life, it makes you start. (Can you name the extremely famous painting in the background, left? It’s a beautiful juxtaposition with the sculpture. Answer: “Pygmalion and Galatea.)
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I don’t know who this is, or who made him. But he emanates a special brand of banal magnificence.

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