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The artistic depictions of the Nativity or birth of Jesus, celebrated at Christmas, are based on the narratives in the Bible, in the Gospels of Matthew and Luke, and further elaborated by written, oral and artistic tradition. Christian art includes a great many representations of the Virgin Mary and the Christ Child.
[3] [2] The painting is about 2.7 metres high and two metres wide. [4] On the night of 17–18 October 1969, [5] two thieves stole the painting from its home in the Oratory of Saint Lawrence in Palermo. [4] They cut the painting from its frame, [2] [4] and also took a carpet from the oratory which authorities believe was used to roll up the ...
Nativity (Christus) Nativity (El Greco) Nativity (Master of the Brunswick Diptych) Nativity at Night; The Nativity (Piero della Francesca) Nativity scene; Nativity scenes attributed to Zanobi Strozzi; Nativity with Saint Francis and Saint Lawrence; Nativity with St Elizabeth and the Infant John the Baptist; The Nativity (Burne-Jones) Neapolitan ...
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative ...
Rutland Boughton, English composer and founder of the original Glastonbury Festival, wrote a very popular Nativity opera in 1915 called Bethlehem.In 1926, in sympathy with the General Strike and the miners' lockout, he restaged it in London, in modern dress, with Jesus born in a miner's cottage and Herod as the top-hatted capitalist, flanked by soldiers and police.
Master of the Pala Sforzesca (c. 1490–c. 1500) (Art UK): Saint Paul (Art UK), The Virgin and Child with Saints and Donors (Art UK) Master of the Prodigal Son (c. 1530–1560) (Art UK): The Dead Christ supported by the Virgin and Saint John (Art UK) Master of Riglos (active 1435–1460) (Art UK): The Crucifixion (Art UK)
He sees in this painting the influence of the thought of Cardinal de Bérulle, founder of the society and the church of the Oratory, for which the painting was intended. The latter expresses in fact a very particular spirituality marked in particular by the light which miraculously emanates from the Child Jesus and illuminates the face of the ...
In art this was symbolized by combining the depictions of the Resurrection with the Harrowing of Hell in icons and paintings. A good example is from the Chora Church in Istanbul, where John the Baptist, Solomon and other figures are also present, depicting that Christ was not alone in the resurrection. [13]