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A German holy card from around 1910 depicting the crucifixion The earliest known woodcut, St Christopher, 1423, Buxheim, with hand-colouring Prayer card of the Holy Face of Jesus In the Christian tradition, holy cards or prayer cards are small, devotional pictures for the use of the faithful that usually depict a religious scene or a saint in ...
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, [1] it had been reproduced over half a billion times worldwide by the end of the 20th century. [2]
The painting depicts this moment recounted in the Acts of the Apostles, except Caravaggio has Saul falling off a horse (which is not mentioned in the story) on the road to Damascus, seeing a blinding light and hearing the voice of Jesus. For Saul this is a moment of intense religious ecstasy: he is lying on the ground, supine, eyes shut, with ...
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.
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 resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely ...
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.
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