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Christ in Glory with Four Saints and a Donor; Christ in Glory with Saint Peter and Saint Paul; Christ in Glory with Saints and Odoardo Farnese; Christ in the Desert; Christ in the House of Martha and Mary (Velázquez) Christ in the House of Martha and Mary (Vermeer) Christ on the Mount of Olives (Caravaggio) Christ on the Mount of Olives (Paul ...
The history of the painting is not known, but the Uffizi acquired it from a private collection in 1784. [1] It may have come from one of the many monasteries suppressed by the Archduke Pietro Leopoldo. There are several copies of the painting, including one in the Louvre and one in the Morgan Library & Museum in New York. In the Louvre's copy ...
The Christ as the Suffering Redeemer is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1488–1500 and housed in the Statens Museum for Kunst, Copenhagen, Denmark. [ citation needed ]
The various versions of the Man of Sorrows image all show a Christ with the wounds of the Crucifixion, including the spear-wound. Especially in Germany, Christ's eyes are usually open and look out at the viewer; in Italy the closed eyes of the Byzantine epitaphios image, originally intended to show a dead Christ, remained for longer.
Crucifixions and crucifixes have appeared in the arts and popular culture from before the era of the pagan Roman Empire.The crucifixion of Jesus has been depicted in a wide range of religious art since the 4th century CE, frequently including the appearance of mournful onlookers such as the Virgin Mary, Pontius Pilate, and angels, as well as antisemitic depictions portraying Jews as ...
Protestant art continued the now-standard depiction of the physical appearance of Jesus. Meanwhile, the Catholic Counter-Reformation re-affirmed the importance of art in assisting the devotions of the faithful, and encouraged the production of new images of or including Jesus in enormous numbers, also continuing to use the standard depiction.
Cimabue achieves a masterful handling of colour; medieval churches tended to be extremely colourful, with frescoed walls, painted capitals, and gold leaf paintings. [8] Pale tonalities dominate, with the main contrast found in the dark areas of Christ's hair and beard, which are utilised to make the features of his face stand out more and position his head as the focal point.
In Early Netherlandish painting of the 15th century the three crosses often appear in the background of the painting, a short distance from the scene. Gerard David - Lamentation Lamentations did not appear in art north of the Alps until the 14th century, but then became very popular there, and Northern versions further developed the centrality ...