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In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely depends. [1] The redemptive value of the resurrection has been expressed through Christian art, as well as being expressed in theological writings.
Jesus driving the money-changers out of the Temple: to the right of the entry of Jesus, under a double arch 3. Judas betrays Jesus to the High Priests: down and to the left from the temple scene, in a narrow candle-lit archway 4. The Last Supper: to the left of the betrayal, in a building with a pitched roof 5. Prayer in the Garden of Gethsemane
It is considered by several authors as the masterpiece of the Venetian period of El Greco. Despite containing some Cretan elements acquired during his formal training, [4] this painting can be fully considered a work of the Italian Renaissance. Perspective emphasizes the handling of the anatomy, the application of color and drama of the scene.
The painting depicts a parable of spiritual life, the miracle of the hardened sinner receiving first grace (sorrow for sins committed in order to seek penitence and redemption). [1] Rembrandt used chiaroscuro (contrasts of light and dark) in this painting, with the dark interior of the burial cave and the limited torchlight focusing the ...
The Minneapolis Institute of Art Collection houses another version of the painting called Christ Driving the Money Changers from The Temple. [12] In this particular painting he painted in the lower right corner, four of his contemporaries: Titian, Michelangelo, Giulio Clovio (a miniaturist and manuscript illuminator), and Raphael. [13]
C. Cervara Altarpiece; Chigi Altarpiece; Christ Crucified (Velázquez) Christ of Saint John of the Cross; Christ on the Cross (Murillo) Crucifix (Cimabue, Arezzo)
The painting represents the allegorical victory of Christianity over Death (depicted as a skull) and Sin (depicted as a snake). It was formerly thought to have been painted around 1615, but more recent stylistic comparisons with similar Rubens works have indicated that it was more likely to have been painted slightly later, i.e. around 1618.
The painting emphasizes Jesus Christ's sacrifice, and uses the witnesses to show recognition of the event of his death as a clear reference to new Lutheran theology; sinful mankind is only redeemed through Christ, not through the Catholic church.