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The Taking of Christ (Italian: Presa di Cristo nell'orto or Cattura di Cristo) is a painting, of the arrest of Jesus, by the Italian Baroque master Michelangelo Merisi da Caravaggio. Originally commissioned by the Roman nobleman Ciriaco Mattei in 1602, it is housed in the National Gallery of Ireland , Dublin .
The painting depicts the resurrection in a complex composition of twisted bodies before a dark background. Christ is floating above the scene kneeling on a cloud, holding a banner in his left hand, while the angel who lifted the tombstone is standing in profile turning his head victoriously towards the viewer.
Christ Triumphant over Sin and Death, also known as Christ Triumphant over Death and Sin, or sometimes as Salvator Mundi, is a circa 1618 oil painting by the Flemish Baroque artist Peter Paul Rubens. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 235. [2]
The placing of Christ's body on a flat stone also had precedents in painting, notably Rogier van der Weyden's Lamentation in the Uffizi Gallery, Florence. [3] On closer inspection, Caravaggio painting does not fit this formula, since these ancient types are transportation scenes, whereas his, as in Van der Weyden's case, is decidedly not.
The Lamentation of Christ [1] is a very common subject in Christian art from the High Middle Ages to the Baroque. [2] After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.
The composition is a novel one, with the body of Jesus typically held horizontally in paintings of the Entombment, although earlier examples with Jesus held vertically that may have influenced Michelangelo include a 1438-1440 predella to the San Marco Altarpiece by Fra Angelico, and Domenico Ghirlandaio. The upright posture of Jesus may allude ...
Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism , the Counter Reformation and Catholic Revival, [ 1 ] [ 2 ] but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread ...
In 1913 it was donated to the National Gallery, London, which describes it as "perhaps the most poignant image in [its] collection of the pietà – the lamentation over the dead Christ following his crucifixion – and one of the greatest expressions of grief in Baroque art". [3] The painting shows the dead body of Christ laid out in a white ...