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Some of Neroccio's paintings were probably made by his collaborators in his workshop. However, it is known that the Madonna and Child with St. John the Baptist and St. Mary Magdalene is a work of art done exclusively by him. Most of his artworks were intended for small and private devotion and for that reason he was very coveted in Siena during ...
The Penitent Magdalene is a painting of saint Mary Magdalene by Titian dating to around 1531, signed 'TITIANUS' on the ointment jar to the left. It is now in the Sala di Apollo of the Palazzo Pitti in Florence, Italy.
John the Baptist (sometimes called John in the Wilderness) was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio (1571–1610). The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah.
Tragic Prelude is a mural painted by the American artist John Steuart Curry for the Kansas State Capitol building in Topeka, Kansas. It is located on the east side of the second floor rotunda. On the north wall it depicts the abolitionist John Brown with a Bible in one hand, on which the Greek letters alpha and omega of Revelation 1:8 can be
The painting represents a departure from the standard paintings of the penitent Mary Magdalene of Caravaggio's day, both in portraying her in contemporary clothing and, in the words of biographer John Varriano (2006), avoiding "the pathos and languid sensuality" with which the subject was generally treated. [3]
The Crucifixion with the Virgin, Saint John and Saint Mary Magdalene is a painting by the Flemish artist Anthony van Dyck. He created it between 1617 and 1619 as the high altarpiece for the Jesuit church in Bergues, near Dunkirk, during his time as an assistant to Peter Paul Rubens, to whom the painting was long attributed. It was paid to ...
The Madonna and Child with the Infant John the Baptist (previously also known as The Virgin of the Sandal) is a 1518 oil-on-panel painting by the Italian painter Antonio da Correggio. Stylistically it is closest to the frescoes Correggio produced for the Camera di San Paolo and the fact that it was a model for Michelangelo Anselmi suggests that ...
One of this painting's defining features is the Madonna. She is the focus of the painting. [2] She has a protective arm around Christ as he looks up at her while standing on one of her feet, showing a sense of dependency and childlike trust. [4] On the other side kneels John the Baptist holding one of the two religious symbols seen in the work.