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The Gospel of John does narrate the account of Jesus healing the son of a royal official at Capernaum at a distance in John 4:46–54. Some modern commentators [4] treat them as the same event. However, in his analysis of Matthew, R. T. France presents linguistic arguments against the equivalence of pais and son and considers these two separate ...
The official, based in Capernaum, may have been in service to either the tetrarch Herod Antipas or the emperor. It is not clear whether he is a Jew or Gentile. [3]The healing of the official's son follows Jesus' conversation with the Samaritan woman regarding "a spring of water welling up to eternal life” and serves as a prelude to Jesus' statement when questioned after healing the paralytic ...
Christ Healing the Paralytic at the Pool of Bethesda (1667-1670) by Bartolomé Esteban Murillo. Christ Healing the Paralytic at the Pool of Bethesda is a 1667-1670 oil on canvas painting by Bartolomé Esteban Murillo, now in the National Gallery, London, [1] to which it was presented by the Art Fund, which had bought it for £8,000 the body had been given by Graham Robertson's executors.
Christ healing the paralytic at Capernaum by Bernhard Rode 1780. Jesus heals the paralytic at Capernaum (Galway City Museum, Ireland) Jesus heals the man with palsy by Alexandre Bida (1875) Healing the paralytic at Capernaum is one of the miracles of Jesus in the synoptic Gospels (Matthew 9:1–8, Mark 2:1–12, and Luke 5:17–26).
Joseph is making a door, which is laid upon his carpentry work-table. Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot. As Jesus's grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a ...
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, [1] it had been reproduced over half a billion times worldwide by the end of the 20th century. [2]
Art critic Friedrich Pecht wrote that Liebermann's treatment of the biblical narrative was purely humorous and without religious reverence – a witty child who makes fun of a few old people. In his view, Liebermann portrayed Jesus as "the ugliest, snobby Jewish boy imaginable" and the rabbis as a "pack of the sleakiest haggling Jews". [9]
The painting in its current frame, hanging in the National Gallery. The Latin form of Pilate's words, "Behold the man", has given the title Ecce Homo to this picture. It is the moment when Jesus comes forth from the rude mockery of the soldiers, clad in a royal robe, and wearing the crown of thorns. The governor has bidden one of the soldiers ...