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In Luke's Gospel, Joseph and Mary travelled to Bethlehem, the family of Joseph's ancestors, to be listed in a tax census; the Journey to Bethlehem is a very rare subject in the West, but shown in some large Byzantine cycles. [2] While there, Mary gave birth to the infant, in a stable, because there was no room available in the inns.
Neapolitan presepio at the Carnegie Museum of Art in Pittsburgh Detail of an elaborate Neapolitan presepio in Rome. In the Christian tradition, a nativity scene (also known as a manger scene, crib, crèche (/ k r ɛ ʃ / or / k r eɪ ʃ /), or in Italian presepio or presepe, or Bethlehem) is the special exhibition, particularly during the Christmas season, of art objects representing the birth ...
Only the Gospels of Matthew and Luke offer narratives regarding the birth of Jesus. [6] Both agree that Jesus was born in Bethlehem in the reign of King Herod, that his mother was named Mary and that her husband Joseph was descended from King David (although they disagree on details of the line of descent), and both deny Joseph's biological parenthood while treating the birth, or rather the ...
Italian artist Maurizio Cattelan's "Comedian," a conceptual artwork comprising a banana stuck to a wall with duct tape, sold on Wednesday for $6.24 million at a Sotheby's auction in New York.
The second dream, as shown by the text on the angel's banderole: "Flee to Egypt", 13th-century mosaic, Florence Baptistry The Dream of Saint Joseph, by Philippe de Champaigne. Saint Joseph's dreams are four dreams described in the Gospel of Matthew in the New Testament in which Joseph , the legal father of Jesus , is visited by an angel of the ...
The banana is attached with a diagonal piece of tape. Morford’s work had existed for years, but it was Cattelan’s potentially derivative rendition that went viral.
The scene includes other plants and birds, including a magpie on the roof of the stable, temporarily silenced from its incessant chattering, [3] and a red-faced goldfinch, symbol of redemption or the passion, in a shrub to the left. [5] The work was previously displayed in a heavy gilded frame, with fluted pilasters and Corinthian capitals. [3]
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