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The Christ Child and the Infant John the Baptist with a Shell or The Holy Children with a Shell (Spanish - Los Niños de la concha) is a 1670-1675 oil on canvas painting by Bartolomé Esteban Murillo, now in the Prado Museum in Madrid. One of the artist's most popular works, it was widely reproduced in prints and on plates. [1]
The prohibition against icons was due to verses in Exodus 20:4 which critiqued the worship of graven images. [31] [32] Most figurative images were destroyed or plastered over, with exceptions of images at the monastery of Saint Catherine on Mount Sinai, Egypt. [33] [30] Byzantine art style declined after the Fall of Constantinople in 1453. [34 ...
Images of the Virgin and Child were for centuries the most common subject for Christian religious art. There are many thousands of surviving historical images. The following is a list (probably incomplete) of those with articles, listed by their usual type of title (although other title forms may be found).
Mary's eyes are fixed on the Christ Child who raises his hand in a gesture of benediction over the cousin who thirty years later would carry out his appointed task of baptising Christ. Although the older of the two children, John the Baptist humbly accepts the blessing, as one who would later say of his cousin "I am not worthy even to unloose ...
Christ and the Woman Taken in Adultery (Polenov) Christ in Glory with Saints and Odoardo Farnese; Christ Leaving the Praetorium; Christ on the Cross with the Virgin and Saint John; Christ the Redeemer with Four Saints; Conegliano Altarpiece; Croce al Tempio Lamentation; Crucifix (Cimabue, Arezzo) Crucifix (Cimabue, Santa Croce) Crucifixion (Titian)
A considerable part consisted of tondi, in which the artist portrayed Mary, the Divine Child and the Infant Saint John the Baptist in worship. The tondi (tondo, singular) were works of art in circular shape (paintings or sculptures), mostly of sacred or historical themes.
The upper half is dominated by the three large forms of Jesus, Mary and St. John. Jesus is placed in the center of the upper half of the panel, sitting on a double rainbow which emits beams, with his hand held outwards. Mary and John kneel at either side of him in poses of prayer as they beg for salvation for the souls beneath. [6]
The painting is placed in an elaborate baroque frame of carved, gilded and painted wood, with laurel leaf decorations. An engraving after the painting by Jan van Troyen was included in the Theatrum Pictorium, published in Antwerp in 1660 by the painter David Teniers the Younger.