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Altobello Melone – The Road to Emmaus, c. 1516–17. N. T. Wright considers the detailed narration of the Emmaus journey in Luke 24:13–35 [4] as one of the best sketches of a biblical scene in the Gospel of Luke. [5] Jan Lambrecht, citing D. P. Moessner, writes: "the Emmaus story is one of Luke's 'most exquisite literary achievements'."
The painting depicts the moment when the resurrected but incognito Jesus reveals himself to two of his disciples (presumed to be Luke and Cleopas) in the town of Emmaus, only to soon vanish from their sight (Gospel of Luke 24: 30–31). Cleopas wears the scallop shell of a pilgrim. The other apostle wears torn clothes.
In 1863, he settled on the outskirts of Lucerne, and rarely left for any extended period of time after that. Between 1867 and 1877, his religious faith began to appear as biblical motifs in his pictures, such as The Road to Emmaus (1877). In 1882 he completed Der Eichenwald (The Oak Forest), one of his best known works. The image was based on ...
Paolo Veronese's Supper at Emmaus is a large 241×415 cm (8×14 feet) oil painting on canvas. [1]It depicts the biblical Gospel story of the resurrected Christ appearing on the road to Emmaus – and being finally recognized by two of his disciples who were on a pilgrimage to Emmaus, as he blesses the bread at a meal they had invited him, an apparent stranger, to. [2]
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The Supper at Emmaus is the title shared by several similar works by Titian, two of which are discussed here. The first, made about 1534, is currently on long-term loan to the Walker Art Gallery, in Liverpool. The second, made about 1545 by Titian and his studio, is in the National Gallery of Ireland, in Dublin.