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The Christian Martyrs' Last Prayer (French: La Dernière Prière des martyrs chrétiens), also known as The Christian Martyrs and The Last Prayer, is an 1883 painting by the French painter Jean-Léon Gérôme. [1] It is part of the collection of the Walters Art Museum in Baltimore.
The Horses of Neptune, illustration by Walter Crane, 1893.. Horse symbolism is the study of the representation of the horse in mythology, religion, folklore, art, literature and psychoanalysis as a symbol, in its capacity to designate, to signify an abstract concept, beyond the physical reality of the quadruped animal.
The painting shows the three Magi or "kings" presenting their gifts to the infant Jesus, who is held by his mother. Saint Joseph stands beside her, and the manger, ox and ass of the usual depiction of the Nativity are behind this main group. Thus far the composition contains the inevitable components in a very standard arrangement. [6]
The ruin symbolism in "Nativity" and "Adoration of the Magi" paintings first emerged in Early Netherlandish art around the mid-fifteenth century, in a distinct Romanesque style. [29] Early Netherlandish painters began to associate this style with the architecture of the Holy Land, in contrast to the vague Orientalism of earlier depictions.
Art historian John Ward highlights the rich and complex iconography and symbolic meaning van Eyck employed to bring attention to what he saw as the co-existence of the spiritual and material worlds. In his paintings, iconographical features are typically subtly woven into the work, as "relatively small, in the background, or in the shadow ...
The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. [1] It is considered "one of the most dynamic prints ever made". [2]
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God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.