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The Kitchen Maid (in Spanish La mulata, La cocinera or Escena de cocina (Kitchen Scene)) and Kitchen Maid with the Supper at Emmaus are two paired domestic paintings by Diego Rodríguez de Silva y Velázquez from his early Seville period. A wide range of dates has been suggested for its completion, although most place it between 1620 and 1622.
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".This photographic reproduction is therefore also considered to be in the public domain in the United States.
This is a list of paintings and drawings by the 17th-century Spanish artist Diego Velázquez. Velázquez is estimated to have produced between only 110 and 120 known canvases. [ 1 ] Among these paintings, however, are many widely known and influential works.
Diego Rodríguez de Silva y Velázquez [a] [b] (baptized 6 June 1599 – 6 August 1660) was a Spanish painter, the leading artist in the court of King Philip IV of Spain and Portugal, and of the Spanish Golden Age. He is generally considered one of the greatest artists in the history of Western art. [5]
Altobello Melone – The Road to Emmaus, c. 1516–17. N. T. Wright considers the detailed narration of the Emmaus journey in Luke 24:13–35 [4] as one of the best sketches of a biblical scene in the Gospel of Luke. [5] Jan Lambrecht, citing D. P. Moessner, writes: "the Emmaus story is one of Luke's 'most exquisite literary achievements'."
It is home to one of the world's greatest collections of Western European paintings. Founded in 1824, from an initial purchase of 36 paintings by the British Government, its collections have since grown to about 2,300 paintings by roughly 750 artists dating from the mid-13th century to 1900, most of which are on display.
Christ in the House of Martha and Mary is an oil-on-canvas painting by the Spanish artist Diego Velázquez, dating to his Seville period, now in the National Gallery, London. It was probably painted in 1618 (it is dated, but the "8" is "fragmentary" and uncertain), [ 1 ] shortly after he completed his apprenticeship with Pacheco .
The art historian Svetlana Alpers suggests that, by portraying the artist at work in the company of royalty and nobility, Velázquez was claiming high status for both the artist and his art, [65] and in particular to propose that painting is a liberal rather than a mechanical art. This distinction was a point of controversy at the time.