Search results
Results from the WOW.Com Content Network
Agnus Dei (Latin for Lamb of God) is an oil painting completed between 1635 and 1640 by the Spanish Baroque artist Francisco de Zurbarán. It is housed in the Prado Museum in Madrid , Spain. The Lamb of God is an allusion to Christ's title as recorded in John's Gospel (John 1:29), where John the Baptist describes Jesus as "The Lamb of God who ...
Paul de Longpré house and garden, formerly located at Hollywood Boulevard and Cahuenga Boulevard, in Hollywood, California. Paul de Longpré art gallery, Hollywood. Roses and Bumblebees, 1899. Paul de Longpré was born in Lyon, France, in 1855, and was an entirely self-taught artist.
The upper portion of the painting was destroyed in 1880. It is believed that the lost portion may have depicted the sacrificial lamb opening the Fifth Seal. [2] The lost upper painting may have also resembled another piece by El Greco, Concert of Angels. Many believe that the surviving portion depicts profane love, while the missing upper ...
The sacrificial lamb is often the protagonist's family member, partner, or friend. They can also be a defenceless stranger, such as an orphan. The virtuous hero mourns the sacrificial lamb's death, foiling the wicked villain who celebrates their enemy's defeat. The lamb's murder justifies the rivalry between the hero and the villain.
For premium support please call: 800-290-4726 more ways to reach us
The twelve interior panels. This open view measures 5.2 m × 3.75 m (17.1 ft × 12.3 ft). [1] Closed view, back panels. The Ghent Altarpiece, also called the Adoration of the Mystic Lamb (Dutch: De aanbidding van het Lam Gods), [A] is a very large and complex 15th-century polyptych altarpiece in St Bavo's Cathedral, Ghent, Belgium.
The Sacrifice of Isaac is the title of two paintings from c. 1598 - 1603 depicting the sacrifice of Isaac.The paintings could be painted by the Italian master Caravaggio (1571–1610) but there is also strong evidence that they may have been the work of Bartolomeo Cavarozzi, a talented early member of the Caravaggio following who is known to have been in Spain about 1617–1619.
Likewise, the painter still seems unsure of the identity of the scene's fourth protagonist, hidden in the mass on the left: it appears to be a lamb – as in the Louvre painting – whose snout can be guessed to the left of Jesus' head, and the rest of his body stretched out on the bench occupied by Saint Anne.