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Christ in the House of Martha and Mary (Dutch: Christus in het huis van Martha en Maria) is an oil painting finished in 1655 by the Dutch Golden Age painter Johannes Vermeer. It is now in the Scottish National Gallery in Edinburgh. It is the largest painting by Vermeer and one of the very few with an overt religious subject.
Detail of the painting The Procuress (c. 1656), proposed self portrait by Vermeer [1] The following is a list of paintings by Johannes Vermeer (1632–1675), a Dutch Golden Age painter. After two or three early history paintings, he concentrated almost entirely on genre works, typically interiors with one or two figures. Vermeer's paintings of ...
Christ in the House of Martha and Mary is an episode in the Gospel of Luke. It may also refer to: Christ in the House of Martha and Mary, a painting by Diego Velázquez; Christ in the House of Martha and Mary, a painting by Johannes Vermeer; Christ at the home of Mary and Martha, a painting by Henry Ossawa Tanner
Christ in the Desert; Christ in the House of Martha and Mary (Velázquez) Christ in the House of Martha and Mary (Vermeer) Christ on the Mount of Olives (Caravaggio) Christ on the Mount of Olives (Paul Gauguin) Christ Pantocrator (Palladas) Christ Pantocrator (Sinai) Christ Taking Leave of his Mother (El Greco) Christ the Redeemer (icon)
Pages in category "Religious paintings by Johannes Vermeer" ... Christ in the House of Martha and Mary (Vermeer) S. Saint Praxedis (painting)
The eldest daughter Lucia (Martina Scrinzi) milks the cow, dreamily resting her face, which she has apparently stolen from a Vermeer painting, against the animal’s warm flank.
Three Belgian climate activists who were previously sentenced to prison for a protest targeting Johannes Vermeer’s painting “Girl with a Pearl Earring” will no longer face any punishment for ...
Also like Rembrandt, Vermeer cast the faces of the group in shadows, which gives a more expressive, moodier cast to the scene. Vermeer's painting is very similar in feeling to Rembrandt's Bathsheba, painted in 1654, a work Vermeer very likely saw firsthand, according to Wheelock. The poses of the woman whose feet is washed and the one doing the ...