By combining the various gospels' accounts Jesus' death and resurrection, one can develop a common story that is consistent with most of the Biblical texts: Simon from Cyrene was pressed into service to carry the cross from Jerusalem to Golgatha, the place of crucifixion. There, Jesus was offered a drink of wine mixed with a bitter substance. He refused. He was nailed to the cross through his palms and feet. Two robbers were crucified with him; one on either side. People passing by hurled insults. From the 6th to the 9th hour, it became dark. Jesus cried out. He was offered vinegar to drink. He cried out again and died. The gospels record different final messages. The veil in the temple was torn from top to bottom by an unknown force. Joseph of Arimathea obtained permission to take Jesus' body to his private tomb. He wrapped the body in a clean linen cloth, placed it in the tomb and sealed the entrance. On Sunday morning, an unknown number of women came to the tomb. The stone had been rolled away. They found that Jesus' body was missing.
What Haas looked for, and began to find, in his last monochromatic work was what he finally realized most fully in color: a photography that was not dominated by what Richard Kirstel has called "the tyranny of the subject." Like those members of the New York School with whom he had most in common, and like another figure whose explorations must be factored into this equation, the late Aaron Siskind, Haas had grown tired of making pictures of the world and even of making images about it; instead, he'd become desirous of making images that were simply drawn from it. The teacher and theorist Henry Holmes Smith once wrote (in an essay on Siskind), "The question: 'What was really there?' becomes as irrelevant as what Monet's lily pond really looked like to Mme. Monet when she rode by on her bicycle." Haas's mature color images come to that same conclusion.