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John the Baptist [note 1] (c. 6 BC [18] – c. AD 30) was a Jewish preacher active in the area of the Jordan River in the early first century AD. [19] [20] He is also known as Saint John the Forerunner in Eastern Orthodoxy and Oriental Orthodoxy, John the Immerser in some Baptist Christian traditions, [21] and as the prophet Yaḥyā ibn Zakariyā (Arabic: النبي يحيى, An-Nabī ...
Nativity of Saint John the Baptist, Zechariah writing, "His name is John". Pontormo, on a desco da parto, c. 1526. Christians have long interpreted the life of John the Baptist as a preparation for the coming of Jesus Christ, and the circumstances of his birth, as recorded in the New Testament, are miraculous. John's pivotal place in the gospel ...
The Stories of Saint John the Baptist include: Birth of Saint John the Baptist; Saint John the Baptist Leaving his family, Prayer and Predication in the Desert; Beheading of Saint John the Baptist; Feast of Herod, including the dance of Salome (perhaps a portrait of Lucrezia Buti) and the presentation of the saint's head to a cold Herodias
Holy Family with the Infant Saint John the Baptist (c. 1522–1523) by Pontormo. Holy Family with the Infant Saint John the Baptist is a c.1522-1523 oil on panel painting by Pontormo, produced early in his career. It now hangs in the Hermitage Museum, [1] which acquired it with countess E. I. Mordvinova's collection.
The Birth of Saint John the Baptist, by Artemisia Gentileschi, was part of a six-painting portrayal of Saint John's life, with four of the paintings by Massimo Stanzione and one (now lost) by Paolo Finoglia, for the Hermitage of San Juan Bautista (Saint John the Baptist) on the grounds of Buen Rierto in Madrid, under orders from the Viceroy of Naples, the Conde de Monterrey. [1]
Nativity of Saint John the Baptist is a 1526 oil on panel desco da parto painting by Pontormo, now in the Uffizi, [1] where it has been since at least 1704. There is a copy in the Fogg Art Museum . Its status as an autograph work is accepted by most art critics, but was disputed by Philippe Costamagna .
A young Saint John the Baptist is traditionally represented as wearing only skins, often camel. In this case, he wears an exotic spotted fur wrapped around his body. Seated on a rock, he makes a gesture typical of Jesus to point to a cross on the left side of the painting.
Roberto Longhi believes that the drawings of the landscape and the Infant Saint John the Baptist are more typical of Ghirlandaio and proposes the name of Bartolomeo di Giovanni – disciple of both painters – as a possible contributor to the implementation of the Botticelli tondo. Antonino Santangelo, in turn, credits the implementation of ...