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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]
The fourth seal and the pale horse are interpreted to represent the thousand years leading up to the birth of Jesus Christ, both the physical death brought about by great warring empires and the spiritual death through apostasy among the Lord's chosen people. [76]
The Coptic Orthodox Church never depicts God the Father in art although he may be identified by an area of brightness within art such as the heavenly glow at the top of some icons of the baptism of the Lord Jesus Christ. In contrast, the Ethiopian Orthodox Tewahedo Church has many ancient icons depicting the Holy Trinity as three distinct persons.
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.
Gerard David, Adoration of the Kings, National Gallery, London, circa 1515 Adoration of the Magi, Gentile da Fabriano, 1423. The Adoration of the Magi or Adoration of the Kings or Visitation of the Wise Men is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star ...
In 2008, a curator at the Louvre discovered several faint sketches believed to have been made by Leonardo on the back of the painting. [2] [3] [4] Infrared reflectography was used to reveal a "7–by–4 inch drawing of a horse's head", which had a resemblance to sketches of horses that Leonardo had made previously before drawing The Battle of ...
Subjects showing the life of Jesus during his active life as a teacher, before the days of the Passion, were relatively few in medieval art, for a number of reasons. [1] From the Renaissance, and in Protestant art, the number of subjects increased considerably, but cycles in painting became rarer, though they remained common in prints and ...
Three further lambs stand higher up, near the horizon of the garden, and looking up at the jewelled cross; these represent the three apostles who witnessed the Transfiguration. [8] In more vertical depictions of the standard type the scene resolved itself into two zones of three figures: above Christ and the prophets, and below the disciples.