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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 .
Laments for Josiah is the term used in reference to 2 Chronicles 35:25.The passage reads: "And Jeremiah lamented for Josiah: and all the singing men and the singing women spake of Josiah in their lamentations to this day, and made them an ordinance in Israel: and, behold, they are written in the lamentations."
It is the largest painting by Vermeer and one of the very few with an overt religious subject. The story of Christ visiting the household of the two sisters Mary of Bethany and Martha goes back to the New Testament. [1] The work has also been called Christ in the House of Mary and Martha (reversing the last two names). [2]
The work of art itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer .
Christ in the House of Martha and Mary by Tintoretto, 1570s. Jesus at the home of Martha and Mary, in art usually called Christ in the House of Martha and Mary, and other variant names, is a Biblical episode in the life of Jesus in the New Testament which appears only in Luke's Gospel (Luke 10:38–42), immediately after the Parable of the Good Samaritan (Luke 10:25–37). [1]
Tanner spoke of the painting as having been particularly challenging to paint. [2] The painting was purchased in 1907 by the museum. [3] It was also exhibited in Pittsburgh in 1907 and New York in 1908. [2] The painting illustrates Luke 10, verses 38–42 in the Bible, when Christ ate at the table of the sisters Martha and Mary. [2]
The speaker of the poem is Mary, mother of Jesus as she laments the crucifixion of her son, Jesus Christ, while at the side of his cross on Calvary. As such the poem constitutes an element of Roman Catholic religious poetry. Its interpretation has been much discussed in Hungarian philology, and the meaning of some words and phrases remains ...
The Music Lesson is a mature work of Vermeer and his handling of color and his choice of painting materials [8] is but one of the aspects proving his mastery. The painting is dominated by dark areas such as the bluish-black floor painted in bone black with the addition of natural ultramarine.