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Presentation of Christ in the Temple is an oil-on-wood painting by the Italian Renaissance painter Fra Bartolomeo, most likely commissioned by Pope Leo X for the Epiphany of 1516. It originally hung in the novices' chapel in San Marco, Florence. [1] It is inscribed with the year 1516.
Pages in category "Paintings of the Presentation of Christ at the Temple" The following 19 pages are in this category, out of 19 total. This list may not reflect recent changes .
Made and painted by Lucas Cranach the Elder, the painting depicts Jesus Christ with children, based on the New Testament verse "Suffer the little children to come unto me, and forbid them not: for of such is the kingdom of God" (Mark 10:14); a popular subject of Protestant iconography in line with the Lutheran teachings of Sola gratia and Sola Fide; salvation by grace through faith, a theme ...
Manichaean Painting of the Buddha Jesus; Manichaean temple banner MIK III 6286; The Marriage Feast at Cana (Bosch) The Merciful Knight; The Miraculous Draft of Fishes (Witz) Modena Triptych; Mogao Christian painting; Murals from the Christian temple at Qocho
Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens .
To the right there is a figure, that stands nearest to Jesus, who was depicted as the painter's good friend, the writer Gogol. Before the wanderer with a staff seated not far from John, is a figure seated with a red headgear. The figure is a self-portrait; the artist has captured his own features on the canvas. [8] [9] Studies
A seven-alarm fire that tore through a 150-year-old church in Massachusetts miraculously spared a painting of Jesus Christ.
The episode of the twelve-year-old Jesus in the temple is taken from the Gospel of Luke (Lk 2.42-50), and is often depicted in Christian art, for example in cycles on the life of Mary. Liebermann had the idea for this painting when he visited the Jewish quarter of Amsterdam in 1876.