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Leviticus 24:2 specifies that pure olive oil must be used to light the menorah. While Exodus 25:37 and Numbers 8:2–3 speak of seven lights being lit, Exodus 27:20–21 and Leviticus 24:2 specifies that a single "light" must be lit "continually", and must burn "from evening to morning".
The Scapegoat (1854–1856) is a painting by William Holman Hunt which depicts the "scapegoat" described in the Book of Leviticus.On the Day of Atonement, a goat would have its horns wrapped with a red cloth – representing the sins of the community – and be driven off.
The painting is directly tied to Luke, chapter 5, of the Bible which is clear from the inscription the artist added. The painting shows a banquet taking place in which Christ is the focal point at the center of the image. [3] However, the painting led to an investigation by the Tribunal of the Venetian Holy Inquisition. [4]
Created Date: 8/30/2012 4:52:52 PM
Oil on copper paintings were prevalent in the mid sixteenth century in Italy and Northern Europe. [1] The use of copper as a substrate for an oil painting dates back to Medieval times . [ 2 ] The Flemish masters and other artists including Jan Breughel the Elder , Claude , El Greco , Guido Reni , Guercino , Rembrandt , Carlo Saraceni ...
The painting emphasizes Jesus Christ's sacrifice, and uses the witnesses to show recognition of the event of his death as a clear reference to new Lutheran theology; sinful mankind is only redeemed through Christ, not through the Catholic church.
The Crucifixion with the Virgin and St John by Hendrick ter Brugghen is an oil painting, now in the Metropolitan Museum of Art in New York City.It was probably painted c. 1625 as an altarpiece for a Catholic schuilkerk, a "hidden church" or "church in the attic", in the Calvinist Dutch United Provinces, probably Utrecht.
The work is a history painting depicting an episode from Plutarch's Lives in which Greek court physician Erasistratus diagnoses the illness of Antiochus, the son of Seleucus I, as lovesickness for his stepmother Stratonice. The painting was awarded the 1774 Prix de Rome by the Académie royale de peinture et de sculpture.