Search results
Results from the WOW.Com Content Network
The painting in its current frame, hanging in the National Gallery. The Latin form of Pilate's words, "Behold the man", has given the title Ecce Homo to this picture. It is the moment when Jesus comes forth from the rude mockery of the soldiers, clad in a royal robe, and wearing the crown of thorns.
Christ Falling on the Way to Calvary, also known as Lo Spasimo or Il Spasimo di Sicilia, is a painting by the Italian High Renaissance painter Raphael, of c. 1514–16, [1] now in the Museo del Prado in Madrid. It is an important work for the development of his style.
Christ and the Samaritan Woman (Carracci) Christ and the Samaritan Woman (Kauffman) Christ and the Virgin Diptych; Christ and the Woman of Samaria (Gentileschi) Christ Appointing Saint Roch as Patron Saint of Plague Victims; Christ as the Suffering Redeemer (Mantegna) Christ Asleep during the Tempest; Christ at the home of Mary and Martha
The painting is signed on the edge of the marble base and his an original version of the traditional Pietà theme. Christ, portrayed with open hands to show all the wounds of the crucifixion, is raised on finely sculpted ancient sarcophagus. [citation needed]
The Preaching of the Antichrist (Italian: La predicazione dell'Anticristo) is a fresco by the Italian Renaissance painter Luca Signorelli.It is one of the scenes of what is considered his masterpiece, the cycle of frescoes with apocalyptic themes that decorate the Chapel of San Brizio in Orvieto Cathedral (1499–1504).
The Lamentation of Christ is a topic in Christian religious art, especially popular in the High Medieval, Renaissance, and Baroque periods, which depicts the moment of mourning following the Crucifixion and lowering of Christ's body from the cross. Mantegna's variant includes some aspects commonly associated with the scene, including the ...
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.
The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely ...