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Hernando Ruiz Ocampo was a leading radical modernist artist in the Philippines.He was a member of the Saturday Group of artists (also known as the Taza de Oro Group), and was one of the pre-war Thirteen Moderns, a group of modernist artists founded by Victorio C. Edades in 1938.
Andrea di Bartolo, Way to Calvary, c. 1400.The cluster of halos at the left are the Virgin Mary in front, with the Three Marys. Sebastiano del Piombo, about 1513–14. Christ Carrying the Cross on his way to his crucifixion is an episode included in the Gospel of John, and a very common subject in art, especially in the fourteen Stations of the Cross, sets of which are now found in almost all ...
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.
Visual Arts – Painting Leandro Valencia Locsín (1928–1994) Negros Occidental: Architecture 1991 Hernando Ruiz Ocampo (1911–1978) Manila: Visual Arts – Painting posthumous conferment Lucio Diestro San Pedro Sr. (1913–2002) Rizal: Music Fidel V. Ramos 1997 Catalino "Lino" Ortiz Brocka (1939–1991) Sorsogon: Film posthumous conferment
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Altar at the traditional site of Golgotha The altar at the traditional site of Golgotha Chapel of Mount Calvary, painted by Luigi Mayer. The English names Calvary and Golgotha derive from the Vulgate Latin Calvariae, Calvariae locus and locum (all meaning "place of the Skull" or "a Skull"), and Golgotha used by Jerome in his translations of Matthew 27:33, [2] Mark 15:22, [3] Luke 23:33, [4 ...
Art historians are unsure as to whether the panels were meant to be a diptych or a triptych. [12] They may have formed the outer wings of a triptych, with a since-lost panel representing the Adoration of the Magi at the centre, [13] or, as the German art historian J.D. Passavant speculated in 1841, the lost centre panel may have been a Nativity ...
In art this was symbolized by combining the depictions of the Resurrection with the Harrowing of Hell in icons and paintings. A good example is from the Chora Church in Istanbul, where John the Baptist, Solomon and other figures are also present, depicting that Christ was not alone in the resurrection. [13]