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Two of the more puzzling details of the painting are, one, the fact that the heads of Jesus and St. John seem to visually meld together in the upper left corner, and, two, the fact of the prominent presence, in the very centre of the canvas and in the foremost plane of the picture, of the arresting officer's highly polished, metal-clad arm.
The painting is a two-figure composition of a life-size scale, with Mary Magdalene positioned on the left and Jesus Christ on the right. The painting depicts the moment when, according to the Gospel narrative, Mary Magdalene recognises the resurrected Christ. With a gesture of his right hand, Christ stops her impulse to touch him, saying, "Do ...
[2] A week later, Jesus appeared and told Thomas to touch him and stop doubting. Then Jesus said, "Because you have seen me, you have believed; blessed are those who have not seen and yet have believed." [3] The painting shows in a demonstrative gesture how the doubting apostle puts his finger into Christ's side wound, the latter guiding his hand.
The first versions of the paintings were obviously acquired by Giacomo Sannesio, secretary of the Sacra Consulta and an avid collector of art. The first Conversion of Saint Paul ended up in the Odescalchi Balbi Collection. It is a much brighter and more Mannerist canvas, with an angel-sustained Jesus reaching down towards a blinded Paul.
The Transfiguration of Jesus was a major theme in the East and every Eastern Orthodox monk who had trained in icon painting had to prove his craft by painting an icon of the Transfiguration. [60] However, while Western depictions increasingly aimed at realism , in Eastern icons a low regard for perspective and alterations in the size and ...
The Supper at Emmaus is a painting by the Italian Baroque master Caravaggio, executed in 1601, and now in London. It depicts the Gospel story of the resurrected Jesus's appearance in Emmaus. Originally this painting was commissioned and paid for by Ciriaco Mattei, brother of cardinal Girolamo Mattei.
Christ on the Cross Adored by Two Donors is a c.1590 oil on canvas painting by El Greco, now in the Louvre, Paris. [1]Intended for a chapel in the Hieronymite monastery in Toledo, it was commissioned by one of the two figures shown beneath Jesus crucified, in the places usually occupied by the Virgin Mary and St John the Evangelist.
The Medici exhibited it in the Uffizi Tribune, where it remained until 1634. The original commission of the painting is however unknown, although some identify it with that mentioned by late Renaissance art biographer Giorgio Vasari and which had been brought to Reggio Emilia from Genoa by Luca Pallavicino.