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The Calling of Saints Peter and Andrew is a painting by the Italian Baroque master Caravaggio. It takes its theme from a passage in the Gospel of Matthew describing the moment when Christ called the two brothers Simon – later known as Peter – and Andrew , to be his disciples:
Tissot, James, The calling of Peter and Andrew. The calling of the disciples is a key episode in the life of Jesus in the New Testament. [2] [3] It appears in Matthew 4:18–22, Mark 1:16-20 and Luke 5:1–11 on the Sea of Galilee. John 1:35–51 reports the first encounter with two of the disciples a little earlier in the presence of John the ...
Detail of the characters on the right, with John Argyropoulos in the center. In the background left, the fishermen Peter and Andrew are called by Jesus. The two can also be seen in the background right, behind Jesus, who calls James and John, who are restoring the nets on their father Zebedee's boat.
Both Andrew and Peter are names of Greek origins which France sees as an accurate reflection of the multicultural nature of the Galilee at this time. Albright and Mann note that evidence for Andrew being used as a name for a Jew dates back to 169 BC. [4] France notes that the Sea of Galilee at the time was known for its prosperous fishing ...
The Calling of the Apostles Peter and Andrew (from the Maestà), c. 1308–1311. In the synoptic gospels, Peter (then Simon) was a fisherman along with his brother, Andrew, and the sons of Zebedee, James and John. The Gospel of John also depicts Peter fishing, even after the resurrection of Jesus, in the story of the Catch of 153 fish.
These are the names of the twelve apostles: first, Simon, also known as Peter, and his brother Andrew; James son of Zebedee and his brother John; Philip and Bartholomew; Thomas and Matthew the tax collector; James son of Alphaeus and Thaddaeus; Simon the Cananaean and Judas Iscariot, the one who betrayed him. [4] According to Luke:
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In the left lunette, destroyed in 1746-48, Masolino had painted the Calling of Peter and Andrew, or Vocation, known thanks to some indications by past witnesses such as Vasari, Bocchi and Baldinucci. Roberto Longhi first identified an image of this lost fresco in a later drawing, which does not conform to the lunette's upper curvature, but ...