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Michelangelo Buonarotti's Pietà in Saint Peter's Basilica, 1498–1499.Crowned by the Pontifical decree of Pope Urban VIII in 1637.. The Pietà (Italian pronunciation:; meaning "pity", "compassion") is a subject in Christian art depicting the Blessed Virgin Mary cradling the mortal body of Jesus Christ after his Descent from the Cross.
The sculpture captures the moment when Jesus, taken down from the cross, is given to his mother Mary. As is common in art, she looks younger than the mother of a man in his thirties; indeed, this Mary arguably looks younger than her son Jesus; art historians believe Michelangelo was inspired by a passage in the Divine Comedy by the Italian ...
The Pietà is a theme in art depicting the Virgin Mary cradling the dead body of her son, Jesus, after his crucifixion. In Bouguereau's version, Mary is seen wearing a black cloak holding Christ close to her bosom. Eight angels in mourning form an arc around them, each of them dressed in different colors.
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.
Version of the Theotokos of Smolensk by Dionisius (c. 1500) 12th-century plaque found in Torcello Cathedral; a full-length figure like the original in Constantinople. A Hodegetria, [a] or Virgin Hodegetria, is an iconographic depiction of the Theotokos (Virgin Mary) holding the Child Jesus at her side while pointing to him as the source of salvation for humankind.
Painted for private devotion, it shows a full-length Mary holding Jesus. Mother and son are surrounded by four angels; the two above Mary are adorned with large colourful wings and hold a golden crown, symbolising her role as Queen of Heaven [4] while another two, each bearing large wings, sit on either side of her playing a harp and lute respectively.
[3] [7] Mary's upper body is somewhat rigid, stiff and awkward, compared to the fluidity of Christ, and the lower layers of her dress. [6] According to art historian William Forsyth, the "large soft folds of the Virgin's cloak around her legs and over her body clothe her with majesty befitting so august a mourner".