One of the first pen-and-ink drawings that Dürrenmatt himself deemed successfully completed depicted Christ on the Cross, with people dancing around Him in a circle (Crucifixion 1, 1939/41). Towards the end of his life, Dürrenmatt reverted to religious themes with a series of lithographs representing the divine and the Crucifixion (Inner Monologue Series, 1990). During the period between these two poles of his existence as an author and artist, Dürrenmatt pursued an ongoing debate with his father's faith, even if, at life’s end, Dürrenmatt considered himself an atheist. The biblical motifs that appear in countless variations are the Crucifixion, the Resurrection, the Last Judgment and the Apocalypse, as well as the Last Supper and the Wedding Feast at Cana. These also tend to crop up in depictions that, at first glance, are outside any religious context. In his art, Dürrenmatt often refers to Renaissance or Baroque iconographic traditions, which he was wont to transform into a comic or grotesque vein.