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An assistant of Joseph, who represents Jesus's future Apostles, observes these events. In the background of the painting various objects are used to further symbolize the theological significance of the subject. A ladder, referring to Jacob's Ladder, leans against the back wall, and a dove which represents the Holy Spirit rests on it.
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 ...
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus 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]
A number of Michelangelo's drawings from the early 1530s develop a Resurrection of Jesus. [23] Vasari, alone among contemporary sources, says that originally Michelangelo intended to paint the other end wall with a Fall of the Rebel Angels to match. [24] By April 1535 the preparation of the wall was begun, but it was over a year before painting ...
The ancestors of Jesus are listed in the Biblical books of Matthew and Luke. This is the first known large painted series, although they were often shown in stained glass. See Tree of Jesse. Although each picture has a title, the characters cannot be positively identified.
The series begins at the bottom left as Jesus is brought before Pilate and condemned. The stations follow Jesus' progress carrying the cross. At the top in the center are the three most powerful images – The Raising of the Cross with Jesus' body nailed to it, the actual Crucifixion, and then Taking the Body of Jesus Down. The center panel has ...
There are multiple versions of Rembrandt's Head of Christ which are in the possession internationally of cultural institutions and individuals. During the course of the 19th-century it was supposed that these similar heads were based on a "Jewish model" (leading some to suppose that Rembrandt himself was Jewish, since he lived in what was considered the Jewish quarter of Amsterdam).
Nativity images became increasing popular in panel paintings in the 15th century, although on altarpieces the Holy Family often had to share the picture space with donor portraits. In Early Netherlandish painting the usual simple shed, little changed from Late Antiquity, developed into an elaborate ruined temple, initially Romanesque in style ...
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