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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]
Image Title Year Size Location Christ in the House of Martha and Mary [6] 1654–55 or c. 1654–56 [7] or c. 1655 [8] Oil on canvas, 160 × 142 cm National Gallery of Scotland, Edinburgh: Saint Praxedis [9] 1655 [3] Oil on canvas, 101.6 x 82.6 cm Kufu Company Inc., Tokyo On loan to the National Museum of Western Art, Tokyo Diana and Her ...
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]
This image is a derivative work of the following images: File:Vermeer_autograph.png licensed with PD-old 2009-12-01T11:45:18Z Quibik ( talk · contribs ) 310x167 (13245 Bytes) Removed JPEG artefacts, desaturated, made background transparent.
File: Johannes Vermeer, Allegory of the Catholic Faith, The Metropolitan Museum of Art.jpg
This is one of only four dated Vermeer paintings, the others being The Procuress (1656), The Astronomer (1668) and The Geographer (1669). Vermeer's two early history paintings, Christ in the House of Martha and Mary and Diana and Her Companions, are dated by almost all art historians to 1654–6, although opinions differ as to which is earlier. [7]
Departing from Ripa's allusion to the story of Abraham and Isaac (an Old Testament story said to prefigure the faithful sacrifice of Christ on the Cross), Vermeer instead uses an image of the Crucifixion itself — an image dear to the Jesuits. Vermeer used Crucifixion, a painting from about 1620 by Jacob Jordaens (1593–1678). The painter may ...
Vermeer's signature on the painting had been altered, making it look like Maes'. During a restoration the original signature of J. v. Meer was faintly discernible, though this was ascribed to the Utrecht artist Johannes van der Meet. [7] Vermeer is known to have incorporated other artists' ideas, techniques and the poses in which they depict ...