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The Descent from the Cross, also known as the Deposition of Christ, is a subject in Christian art that is based on several passages in the Bible. The main scriptural basis for this subject can be found in the Gospels of Matthew (Mt. 27: 57-60), Gospels of Mark (Mk. 15:43-46), Gospels of Luke (Lk. 23:50-53), and Gospels of John (Jn. 19:38-42 ...
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
Web Gallery of Art, as Rembrandt, Descent from the Cross, height: 158 cm (62.2 in); width: 117 cm (46 in) dimensions QS:P2048,158U174728 dimensions QS:P2049,117U174728
The Descent from the Cross c. 1435.Oil on oak panel, 220cm × 262 cm. Museo del Prado, Madrid The Descent from the Cross (or Deposition of Christ, or Descent of Christ from the Cross, or in Flemish Kruisafneming) is a panel painting by the Flemish artist Rogier van der Weyden created c. 1435, now in the Museo del Prado, Madrid.
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
Jesus himself is portrayed in a realistic fashion, with his body slumped and twisted rather unsettlingly as he is carried down the cross displaying the lifeless quality of his form. Jesus' physical body shape is very rounded, almost Rubenesque , raising the question of whether Rembrandt was influenced by Rubens' notably voluptuous figures. [ 2 ]
Rosso Fiorentino. Descent from the Cross. 1521.Oil on wood. 375 × 196 cm. Pinacoteca Comunale di Volterra, Italy.. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19, John 19:38–42).
The large-size altarpiece revolutionizes the usual illustrations of Jesus' Descent from the Cross of the Cinquecento and engrosses the idea of the holy Eucharist: The kneeling lady in the foreground as a symbolic embodiment of the duchess who receives the Body of Christ like a lover for supper (cf. John 6:54–59). [4]