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Christ and the Canaanite Woman (1594-1595) by Annibale Carracci Christ and the Canaanite Woman is a 1594-1595 oil on canvas painting by Annibale Carracci , now in the Pinacoteca Stuard in Parma . The work was mentioned by Carlo Cesare Malvasia , who, in Felsina Pittrice , called it "the famous Canaanite Woman .
The event (or events – see discussion below) is reported in Matthew 26, Mark 14, Luke 7, and John 12. [2] Matthew and Mark are very similar: Matthew 26:6–13. While Jesus was in Bethany in the home of Simon the Leper, a woman came to him with an alabaster jar of very expensive perfume, which she poured on his head as he was reclining at the table.
Christ and the Samaritan Woman (1593-1594) Christ and the Samaritan Woman or The Woman at the Well is a 1593-1594 oil on canvas painting by Annibale Carracci, painted as part of the same scheme as the Palazzo Sampieri frescoes. Several years later he also produced a much smaller autograph copy with variations, now in the Museum of Fine Arts ...
Feast in the House of Simon the Pharisee, also known as Christ in the Home of Simon the Pharisee, is a painting by Peter Paul Rubens. It was painted c. 1618–1620, and is in The Hermitage Museum, St. Petersburg. [1] The painting depicts an incident from Luke 7 where Jesus visits Simon the Pharisee, and has his feet anointed by a "sinful woman".
Paintings of Christ and the woman taken in adultery (11 P) Pages in category "Paintings of Jesus" The following 200 pages are in this category, out of approximately 233 total.
Subjects showing the life of Jesus during his active life as a teacher, before the days of the Passion, were relatively few in medieval art, for a number of reasons. [1] From the Renaissance, and in Protestant art, the number of subjects increased considerably, but cycles in painting became rarer, though they remained common in prints and ...
For paintings of a considerable size, such as Christ and the Woman Taken in Adultery, wooden shafts of up to 10 metres in length were constructed, on which the paintings were wound. The restoration artists were meticulous in their approach, ensuring that the paint layer was not wrinkled, as this could potentially cause damage.
The painting was influenced by Beckmann's study of German Renaissance painters, especially Matthias Grünewald. It is a free interpretation of the episode of the Gospel of John, when Jesus saved a woman taken in adultery from those who wanted to stone her. Jesus appears at the center of the composition, having the adulteress, wearing a red veil ...