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God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.
The surviving leaves measure at 32.5 × 29.1 cm (12 13/16 × 11 7/16 in.) [4] In full, the manuscript contained over 380 scenes. [4] It was the work of at least six different artists. [ 1 ] The book consists of paintings of events from Hebrew scripture but are given a setting in the customs and costumes of thirteenth-century France ...
Héliodore Pisan after Gustave Doré, "The Crucifixion", wood-engraving from La Grande Bible de Tours (1866). It depicts the situation described in Luke 23.. The illustrations for La Grande Bible de Tours are a series of 241 wood-engravings, designed by the French artist, printmaker, and illustrator Gustave Doré (1832–1883) for a new deluxe edition of the 1843 French translation of the ...
As common in stained glass and other Gothic art of the time, the illustrations are framed within medallions. [5] The text explained the theological and moral meanings of the text. [ 4 ] Many artists were involved in the creation of each of the Bibles moralisées , and their identities and shares of the work remain unclear.
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The Grove encyclopedia of materials and techniques in art, 2008. New York, Oxford University Press. ISBN 978-0-19-531391-8; Rembrandt and the Nude: Prints by Rembrandt van Rijn (1606-1669), 1996. Cambridge, Fitzwilliam Museum. Schwartz, Gary, The Complete Etchings of Rembrandt, Reproduced in Original Size, 1994 (Dover Edn.), Dover Books, New York