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Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot. As Jesus's grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a kiss. Joseph examines Jesus's wounded hand.
The drawing, if it ever existed, features some of the most important figures in Christianity. It is a full-length portrait depicting a group formed by Mary seated on the lap of her mother, Saint Anne, and stretching out her arms towards her son Jesus of Nazareth, who is riding a lamb at her feet.
The drawing is the only extant larger-scale drawing by the artist. [3] The drawing depicts the Virgin Mary seated on the thigh of her mother, Saint Anne, while holding the Christ Child as Christ's young cousin, John the Baptist, stands to the right. It currently hangs in the National Gallery in London.
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. [1] The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head).
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso) is a 1480s drawing by Leonardo da Vinci. It is in the collection of the Metropolitan Museum of Art. [1]
The midwives gradually dropped out from Western depictions, as Latin theologians disapproved of these legends; sometimes the bath remains, either being got ready or with Mary bathing Jesus. The midwives are still seen where Byzantine influence is strong, especially in Italy; as in Giotto, one may hand Jesus over to his mother. During the Gothic ...
Scientists have re-created what they believe Jesus looked like, and he's not the figure we're used to seeing in many religious images. Forensic science reveals how Jesus really looked Skip to main ...
The hand on the foreshortened left arm of the figure of Saint John is once again the object of an exercise in contrast, the dark fingers being delineated by traces of white light. Saint John's revelationary stance is one of the motors of the painting, he being the only figure looking up in the direction of the broken Christ, and his awed ...