Depictions of the Savior’s Crucifixion may be uncomfortable for many Latter-day Saints, but the scriptures and the prophets invite us to reflect on it so that we may better understand the Savior’s Atonement and God’s love for his children, and art grants us the space to do so. Behold the Lamb, one of the RSC’s latest publications, seeks to create that space.

Art is an incredibly important part of religion: It can bring to life scripture stories and doctrine, it can move and teach, and it can inspire viewers to connect more deeply with God.[1] Behold the Lamb is a compilation of fifty pieces of art gathered by authors John Hilton III, Anthony Sweat, and J. Kirk Richards from contemporary Latter-day Saint artists. Styles range from neoclassical to cubist, mediums from embroidery to sculpture, and sizes from several feet to just a few inches.

According to theologian Douglas J. Davies, “Mormonism stands out [among Christian traditions] both iconographically and theologically in the way it gives higher priority to Christ in Gethsemane than to Christ on the Cross.”[2] Research confirms this. In 2019 students at Brigham Young University were asked which of six paintings of Christ in Gethsemane or on Calvary they would choose to hang in their home. Significantly, 97 percent chose an image of Gethsemane,[3] suggesting that Latter-day Saints overwhelmingly prefer images of Gethsemane over his Crucifixion. In addition to that, there are far more pieces of art in Latter-day Saint spaces and by Latter-day Saint artists that depict Gethsemane or Christ’s Resurrection than there are that depict his Crucifixion. However, here there is a disparity between culture and doctrine.

Despite the prominence of Gethsemane in Latter-day Saint art, both ancient scripture and modern prophets emphasize the Crucifixion over Gethsemane. In 2018 President Russell M. Nelson declared that “all of this suffering [that took place in Gethsemane] was intensified as [Christ] was cruelly crucified on Calvary’s cross.”[4] Christ himself defines his gospel with his Crucifixion at the center: “This is the gospel which I have given unto you—that I came into the world to do the will of my Father . . . that I might be lifted up upon the cross . . . that I might draw all [people] unto me” (3 Nephi 27:13–14). These emphases on the importance of Christ’s Crucifixion expose a major gap in the Latter-day Saint art tradition.

With this new compilation, the authors hope to “shine a light on an underdeveloped yet important area of Latter-day Saint artwork”[5] by beginning to fill the gap in the Latter-day Saint art tradition. In doing so, they also invite Latter-day Saints to develop a deeper connection with and understanding of Christ’s atoning sacrifice.

The book is split into seven chapters, each one focusing on a single event that took place in Christ’s last twelve hours, from Christ’s trial before Caiaphas to his burial. The chapters open with scriptural insights about the event, which is then followed by images of the art. Each artwork is accompanied by commentary from the artists and authors, along with additional scriptural, historical, or doctrinal insights. The combination of commentary and art creates a wonderful space for learning more about and connecting more with the reality of the Savior’s Atonement. The authors “purposely [have] not focused on Gethsemane or Resurrection artwork in this volume” due to the existing abundance of Latter-day Saint artwork depicting those events.

Chapter 1 focuses on Christ on trial: before Caiaphas, before Pontius Pilate, and before the people of Jerusalem. In each piece, the Savior is depicted as standing before those who are judging him of the world.

Chapter 2 depicts the Romans’ scourging and mocking of the Savior. Themes of red and purple run through the art, emphasizing Christ’s physical suffering and his divine identity.

Chapter 3 includes images of Christ and Simon of Cyrene carrying the cross through the streets of Jerusalem and up to Calvary. Each piece conveys the weight that the Savior had to bear through those last twelve hours.

Chapter 4 is centered on the moments in which Christ is nailed to the cross, at the height of his suffering. These works not only reflect the immense pain of the Savior but also embody the beauty of his sacrifice for us.

Chapter 5 depicts the events just before and after Christ declares that his work is finished. A running theme through this chapter’s art is that of glory: the glory Christ was given for completing his work and the glory we can obtain through his sacrifice.

Chapter 6 invites reflection on Mary’s experience as the mother of the Savior through his final hours; her grief is tangible through the images.

Chapter 7 highlights the people around Christ who were involved in his burial. The artwork shows the experiences and emotions of his friends after his death and before his Resurrection.

These chapters are bookended with a prologue and epilogue including pieces by Anthony Sweat that depict Gethsemane and Christ’s Resurrection. Each image illuminates different perspectives on these final hours of Christ’s life, encouraging the viewer to ponder his sacrifice a little more.

This unique addition to the RSC library is moving and powerful. It accomplishes exactly what the authors hope: It invites Latter-day Saints to draw closer to Christ’s atoning sacrifice on the cross. This book can be used for personal, family, or class study—or even on an end table as a conversation starter. Wherever it is used, Behold the Lamb is a great way for all people to better connect with Christ’s sacrifice.

Notes

[1] All concepts in this article are taken from the introduction to John Hilton III, Anthony Sweat, and J. Kirk Richards, Behold the Lamb: A Visual Testament of the Savior’s Final Hours (Religious Studies Center, Brigham Young University; Desert Book, 2026), 1–4.

[2] Douglas J. Davies, Mormon Culture of Salvation (Routledge, 2000), 46.

[3] John Hilton III, Anthony Sweat, and Josh Stratford, “Latter-day Saints and Images of Christ’s Crucifixion,” BYU Studies Quarterly 60, no. 2 (2021): 49–79.

[4] Russell M. Nelson, “The Correct Name of the Church,” Ensign, Nov. 2018, 88.

[5] Hilton and others, “Introduction,” 3.