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In Infinite Jest by David Foster Wallace, the sculpture plays a role in the filmography of James O. Incandenza, Jr. Wallace also alludes to it in three additional scenes involving Joelle. [25] Street artist Banksy used the image of Saint Teresa in one of his works, though he removed the angelic figure and added a fast food meal. [26]
"Works of St. Teresa of Avila (Online)". Christian Classics Ethereal Library. Teresa 500: Videos of a conference held at Roehampton University in 2015 on the 500th anniversary of Teresa's birth "St. Teresa, Virgin", Butler's Lives of the Saints; Founder Statue in St Peter's Basilica; Biography Online: Saint Teresa of Avila
The altarpiece of the Cornaro Chapel, the Ecstasy of St. Teresa, is among the most celebrated works of all of Baroque sculpture, and widely considered one of Bernini's masterpieces. [4] The statues depict a moment as described by Saint Teresa of Avila in her autobiography, where she had the vivid vision of a Seraph piercing her heart with a ...
It shows a vision described by Teresa of Avila in her autobiography and (with two other versions in a private collection [3] and at the Fitzwilliam Museum in Cambridge) is one of three surviving versions of the subject by the artist.
It was built by the Order of Discalced Carmelites, as outlined by friar Alonso de San José, in the Carmelite style in the first third of the 17th century, supposedly on the site where Saint Teresa of Ávila was born. The central rectangle is divided in four bodies with a triangular pediment with a circle in the middle. The lowest part contains ...
Saint Teresa of Ávila's Vision of the Holy Spirit (c. 1614) by Rubens. Saint Teresa of Ávila's Vision of the Holy Spirit is an oil on panel painting of Teresa of Avila by Peter Paul Rubens, executed c. 1614, now in the Fitzwilliam Museum in Cambridge, to which it was allocated by the UK Government in 1999 after being accepted in lieu of inheritance tax. [1]
Upon their arrival, the statues of Saint Christina and Teresa of Avila were considered too beautiful to be exposed to the elements and brought into the church's interior (1804 transferred to Turin Cathedral) and to be replaced on the facade by copies by a local sculptor.
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