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The painting, in vertical format, shows a close-up view of Christ's disciples struggling frantically against the heavy storm to regain control of their fishing boat. A huge wave beats the bow and rips the sail. One of the disciples is seen vomiting over the side. Another one, looking directly at the viewer, is a self-portrait of the artist.
The painting by Raphael (top) shows Jesus in the boat and depicts the first miracle, while the painting by Duccio (bottom) shows Jesus on the shore and depicts the second miracle. The miraculous catch of fish , or more traditionally the miraculous draught of fish(es) , is either of two events commonly (but not universally) [ 1 ] considered to ...
The boat is also important to Christians because this was the sort of boat used by Jesus and his disciples, several of whom were fishermen. [4] Boats such as this played a large role in Jesus' life and ministry, and are mentioned 50 times in the Gospels , though there is no evidence connecting the Sea of Galilee Boat itself directly to Jesus or ...
Christ at the Sea of Galilee is an oil painting by Jacopo Tintoretto, from the 1570s. The painting depicts Jesus Christ raises a hand toward the apostles, who appear in a boat amid hostile waves at sea. It is an example of mannerism, [1] a European art style that exaggerates proportion and favors compositional tension. This can be seen in the ...
Christ of Saint John of the Cross is a painting by Salvador Dalí made in 1951 which is in the collection of the Kelvingrove Art Gallery and Museum, Glasgow.It depicts Jesus Christ on the cross in a darkened sky floating over a body of water complete with a boat and fishermen.
Jesus is pictured right in the middle of the painting with an aurora and lit by the sun, standing on Simon's boat with a few other followers. On the banks are there a large number of figures that are also partially lit by the sun. Close to their right fish are loaded into reed baskets from rowing boats, possibly a reference to the miraculous catch.
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 ...
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