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Jesus and John at the Last Supper, by Valentin de Boulogne. The Gospel of John makes references to the "disciple whom Jesus loved" (John 13:23, [27] John 19:26, [28] John 21:7–20), [29] a phrase which does not occur in the Synoptic Gospels. In the text, this "beloved disciple" is present at the crucifixion of Jesus, with Jesus' mother, Mary.
Héliodore Pisan after Gustave Doré, "The Crucifixion", wood-engraving from La Grande Bible de Tours (1866). It depicts the situation described in Luke 23.. The illustrations for La Grande Bible de Tours are a series of 241 wood-engravings, designed by the French artist, printmaker, and illustrator Gustave Doré (1832–1883) for a new deluxe edition of the 1843 French translation of the ...
Subjects showing the life of Jesus during his active life as a teacher, before the days of the Passion, were relatively few in medieval art, for a number of reasons. [1] From the Renaissance, and in Protestant art, the number of subjects increased considerably, but cycles in painting became rarer, though they remained common in prints and ...
The Last Supper of Jesus and the Twelve Apostles has been a popular subject in Christian art, [1] often as part of a cycle showing the Life of Christ. Depictions of the Last Supper in Christian art date back to early Christianity and can be seen in the Catacombs of Rome. [2] [3] The Last Supper was depicted both in the Eastern and Western ...
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth 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]
The Book of Job was an important influence upon Blake's writings and art; [11] Blake apparently identified with Job, as he spent his lifetime unrecognized and impoverished. Harold Bloom has interpreted Blake's most famous lyric, The Tyger , as a revision of God's rhetorical questions in the Book of Job concerning Behemoth and Leviathan. [ 12 ]
The discovery came after researchers evaluated drawings found in various archaeological sites in Israel. Thus the dark skin, eyes and traditional Jewish beard with short, curly hair.
Jesus replied, "He that is without sin among you, let him first cast a stone at her" (John 8:3–7). Rembrandt made Jesus appear taller than the other figures and more brightly lit. In contrast, the Jews are "in the dark" and appear lower. Symbolically, Jesus's height represents his moral superiority over those who attempted to trick him.