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The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, [1] it had been reproduced over half a billion times worldwide by the end of the 20th century. [2]
It shows the common subject of Christ Carrying the Cross to his crucifixion, at the moment when he fell and his mother suffers a spasm of agony, the Swoon of the Virgin, or "Lo Spasimo". [2] All the emotion of the painting is densely crammed into the foreground and the background is similar to that of a stage set with distant groups of people ...
Rembrandt et la figure du Christ/Rembrandt and the face of Jesus, Musée du Louvre, Paris, 21 April 2011 – 18 July 2011, Philadelphia Museum of Art, Philadelphia, 3 August 2011 – 30 October 2011, Detroit Institute of Arts, Detroit, 20 November 2011 – 12 February 2012, ISBN 978-88-89854-71-6, cat.no. 35.
Preserved at the Royal Library under inventory number RL 12534, a fourth drawing is the last known study for Fra Pietro's Cartoon, but its autograph character is also debated, [45] as are the figure it depicts [46] and its dating. [47] It shows a woman's face whose pose, hairstyle and smile are reminiscent of Saint Anne in the Louvre painting.
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 ...
Compositional Sketches for the Virgin Adoring the Christ Child, with and without the Infant St. John the Baptist; Diagram of a Perspectival Projection (recto); Slight Doodles (verso) is a 1480s drawing by Leonardo da Vinci. It is in the collection of the Metropolitan Museum of Art. [1]
The damned fall out of the frame, with the illusion that they are falling into the church. While the heavenly golden light falls upon the saved, “the illusionistic clouds” block this light from the damned; “indicat[ing] that the {damned are} destined for eternal damnation.” [ 6 ] There is an evident difference between the depicted ...
The painting possesses an esthetic influence from Pinturicchio and Melozzo da Forlì, though the spatial orchestration of the work, with its tendency to movement, shows Raphael's knowledge of the Florentine artistic milieu of the 16th century. [2] The work was acquired by the São Paulo Museum of Art in 1954.