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Crucifix (Cimabue, Arezzo) Crucifix (Cimabue, Santa Croce) The Crucifixion (Cranach) Cristo de Chircales; Crucified Christ (Cosmè Tura) Crucifix of Pisa; Crucifixion (Tintoretto) Crucifixion (Titian) Crucifixion (1933) Crucifixion (Corpus Hypercubus) The Crucifixion (Margkazinis) The Crucifixion (Moskos) The Crucifixion (Paleokapas)
That it should be a crucifix was first specified in the Roman Missal of 1570 and small wall-mounted crucifixes were increasingly popular in Catholic homes from the Counter-Reformation, if not before. The image of a crucifix that bled when mocked and struck by Jews also gained popularity during this time. [30]
Print/export Download as PDF; Printable version; In other projects ... Help. Pages in category "Paintings of crucifixes" The following 8 pages are in this category ...
The only real vertical elements in the painting are the figures, which occupy most of the foreground. Many clusters of people surround a single large central figure mounted on a crucifix. The most impressive formal attribute of this painting (besides its considerable size) is its central compositional element.
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. [1] The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head).
The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. [1] It is considered "one of the most dynamic prints ever made". [2]
Cimabue achieves a masterful handling of colour; medieval churches tended to be extremely colourful, with frescoed walls, painted capitals, and gold leaf paintings. [8] Pale tonalities dominate, with the main contrast found in the dark areas of Christ's hair and beard, which are utilised to make the features of his face stand out more and position his head as the focal point.
Saint Francis Embracing Christ on the Cross or Allegory of Saint Francis' Renunciation of the Material World to Follow Jesus is an oil on canvas painting by Bartolomé Esteban Murillo, created in 1668-1669, now held in the Museum of Fine Arts of Seville.