A powerful 1916 lithograph by Austrian Expressionist Oskar Kokoschka, depicting the biblical betrayal of Christ with raw, gestural lines.

This lithograph, titled The Kiss of Judas, appeared in the periodical Bildermann on 20 November 1916. Oskar Kokoschka, a central figure in the Austrian Expressionist movement, produced this work during the First World War. The image depicts the biblical betrayal of Christ, a subject that allowed the artist to explore themes of human suffering and moral conflict. Kokoschka employs a raw, gestural line quality that characterises his graphic output from this period. The figures are rendered with a sense of urgency, their forms emerging from a series of rapid, energetic marks. The composition focuses on the interaction between Christ and Judas, while secondary figures and a small dog occupy the periphery. The background is suggested through loose, hatched strokes, creating a sense of atmosphere without relying on traditional perspective. Unlike the polished academic styles of the nineteenth century, this work prioritises emotional immediacy. The artist uses the lithographic medium to capture the spontaneity of a sketch, allowing the texture of the stone to influence the final appearance of the print. The stark contrast between the dark, heavy lines and the light paper surface creates a visual tension that mirrors the narrative weight of the scene. This print offers a view into the graphic experimentation occurring in Central Europe during the early twentieth century. Kokoschka avoids decorative flourishes, choosing instead to focus on the psychological state of his subjects. The work remains a clear example of how Expressionist artists utilised traditional religious iconography to comment on the anxieties of their own time. By stripping away unnecessary detail, the artist directs the viewer toward the core of the interaction, where the act of betrayal is frozen in a moment of stark, monochrome clarity.