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Assumption Of The Virgin Mary In Art
The Assumption of the Virgin Mary does not appear in the New Testament, but appears in apocryphal literature of the 3rd and 4th centuries, and by 1000 was widely believed in the Western Church, though not made formal Catholic dogma until 1950. It first became a popular subject in Western Christian art in the 12th century, along with other narrative scenes from the Life of the Virgin, and the Coronation of the Virgin. These "Marian" subjects were especially promoted by the Cistercian Order and Saint Bernard of Clairvaux (d. 1153). Literary accounts with more detail, such as the presence of the Apostles, appeared in late medieval works such as the ''Golden Legend'', and were followed by artists. By the end of the Middle Ages, large and crowded altarpieces gave the artist the opportunity to show his virtuosity in composition, colouring and figure poses. After the Reformation, it was used to assert the Catholic position, rejected by Protestants. Normally accompanied or carri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Assumption Of The Virgin (Titian)
The ''Assumption of the Virgin'' or ''Frari Assumption'', popularly known as the ''Assunta'', is a large altarpiece panel painting in oils by the Italian Renaissance artist Titian, painted in 1515–1518. It remains in the position it was designed for, on the high altar of the Frari, Basilica di Santa Maria Gloriosa dei Frari or Frari church in Venice. It is the largest altarpiece in the city, with the figures well over life-size, necessitated by the large church, with a considerable distance between the altar and the congregation. The images above and below are not Titian's work, they are by Palma Vecchio. It marked a new direction in Titian's style, that reflected his awareness of the developments in High Renaissance painting further south, in Florence and Rome, by artists including Raphael and Michelangelo. The agitated figures of the Apostles marked a break with the usual meditative stillness of saints in Venetian painting, in the tradition of Giovanni Bellini and others. I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sarcophagus
A sarcophagus (plural sarcophagi or sarcophaguses) is a box-like funeral receptacle for a corpse, most commonly carved in stone, and usually displayed above ground, though it may also be buried. The word ''sarcophagus'' comes from the Greek σάρξ ' meaning "flesh", and φαγεῖν ' meaning "to eat"; hence ''sarcophagus'' means "flesh-eating", from the phrase ''lithos sarkophagos'' ( λίθος σαρκοφάγος), "flesh-eating stone". The word also came to refer to a particular kind of limestone that was thought to rapidly facilitate the decomposition of the flesh of corpses contained within it due to the chemical properties of the limestone itself. History of the sarcophagus Sarcophagi were most often designed to remain above ground. The earliest stone sarcophagi were used by Egyptian pharaohs of the 3rd dynasty, which reigned from about 2686 to 2613 B.C. The Hagia Triada sarcophagus is a stone sarcophagus elaborately painted in fresco; one style of later A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jesus At The Home Of Martha And Mary
Jesus at the home of Martha and Mary (also referred to as Christ in the House of Martha and by other variant names) refers to a Biblical episode in the life of Jesus in the New Testament which appears only in Luke's Gospel (), immediately after the Parable of the Good Samaritan (). Gospel of Luke According to the Gospel of Luke: Interpretation Shifting gender expectations, as well as the views of primarily male interpreters, have led to a diversity of interpretations of this passage. Modern presuppositions about women’s domestic roles have often imagined Martha’s “preparations” to be related to food, placing her in the kitchen in this scene. Food, however, does not seem to be at play. Martha is the householder (Luke 10:38) and the many “preparations” which distract her are rendered by the Greek word ''diakonia,'' a word used for services often associated with a particular office of an association, leading some commentators to imagine Martha’s business to be relat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of James IV Of Scotland
__NOTOC__ The Master of James IV of Scotland (''fl.'' ca. 1485 – ca. 1526) was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including several larger panel paintings, indicates that he may be identical with Gerard Horenbout. He was the leading illuminator of the penultimate generation of Flemish illuminators. The painter's name is derived from a portrait of James IV of Scotland which, together with one of his Queen Margaret Tudor, is in the Prayer book of James IV and Queen Margaret, a book of hours commissioned by James and now in Vienna. He has been called one of the finest illuminators active in Flanders around 1500, and contributed to many lavish and important books besides directing an active studio of his own. Stylistically, the Master's miniatures are distinguished by their collections of robust and unidealized figures, set against colorful landscapes and detailed interiors. He had a knac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Relic
In religion, a relic is an object or article of religious significance from the past. It usually consists of the physical remains of a saint or the personal effects of the saint or venerated person preserved for purposes of veneration as a tangible memorial. Relics are an important aspect of some forms of Buddhism, Christianity, Islam, shamanism, and many other religions. ''Relic'' derives from the Latin ''reliquiae'', meaning "remains", and a form of the Latin verb ''relinquere'', to "leave behind, or abandon". A reliquary is a shrine that houses one or more religious relics. In classical antiquity In ancient Greece, a polis, city or Greek temple, sanctuary might claim to possess, without necessarily displaying, the remains of a venerated hero as a part of a Greek hero cult, hero cult. Other venerable objects associated with the hero were more likely to be on display in sanctuaries, such as spears, shields, or other weaponry; chariots, ships or Figurehead (object), figureheads ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doubting Thomas
A doubting Thomas is a skeptic who refuses to believe without direct personal experience — a reference to the Gospel of John's depiction of the Apostle Thomas, who, in John's account, refused to believe the resurrected Jesus had appeared to the ten other apostles until he could see and feel Jesus' crucifixion wounds. In art, the episode (formally called the Incredulity of Thomas) has been frequently depicted since at least the 15th century, with its depiction reflecting a range of theological interpretations. Gospel account The episode is related in chapter 20 of the Gospel of John, but not in the three synoptic Gospels. The text of the King James Version is as follows: Commentators have noted that John avoids saying whether Thomas actually did "thrust" his hand in. Before the Protestant Reformation the usual belief, reflected in artistic depictions, was that he had done so, which most Catholic writers continued to believe, while Protestant writers often thought that he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thomas The Apostle
Thomas the Apostle ( arc, 𐡀𐡌𐡅𐡕𐡌, hbo, תוֹמא הקדוש or תוֹמָא שליחא (''Toma HaKadosh'' "Thomas the Holy" or ''Toma Shlikha'' "Thomas the Messenger/Apostle" in Hebrew-Aramaic), syc, ܬܐܘܡܐ, , meaning "twin"; grc-x-koine, Θωμᾶς),; cop, ⲑⲱⲙⲁⲥ; mal, തോമാ ശ്ലീഹാ also known as (Greek: Δίδυμος ''Didymos,'' meaning "twin"), was one of the Twelve Apostles of Jesus according to the New Testament. Thomas is commonly known as "Doubting Thomas" because he initially doubted the resurrection of Jesus Christ when he was told of it (as is related in the Gospel of John); he later confessed his faith ("My Lord and my God") on seeing the wounds left over from the crucifixion. According to traditional accounts of the Saint Thomas Christians of modern-day Kerala in India, Saint Thomas travelled outside the Roman Empire to preach the Gospel, travelling as far as the Tamilakam which is in South India, and reached ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Girdle Of Thomas
The Girdle of Thomas, Virgin's Girdle, Holy Belt, or Sacra Cintola in modern Italian, is a Christian relic in the form of a "girdle" or knotted textile cord used as a belt, that according to a medieval legend was dropped by the Virgin Mary from the sky to Saint Thomas the Apostle at or around the time of the Assumption of Mary to heaven. The supposed original girdle is a relic belonging to Prato Cathedral in Tuscany, Italy and its veneration has been regarded as especially helpful for pregnant women. The story was frequently depicted in the art of Florence and the whole of Tuscany, and the keeping and display of the relic at Prato generated commissions for several important artists of the early Italian Renaissance. The Prato relic has outlasted several rivals in Catholic hands, and is the Catholic equivalent of the various relics held by Eastern Christianity: the Cincture of the Theotokos of the Eastern Orthodox Church and the Holy Girdle of the Syriac Orthodox Church. Legend Th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Putti
A putto (; plural putti ) is a figure in a work of art depicted as a chubby male child, usually naked and sometimes winged. Originally limited to profane passions in symbolism,Dempsey, Charles. ''Inventing the Renaissance Putto''. University of North Carolina Press, Chapel Hill and London, 2001. the putto came to represent the sacred cherub (plural cherubim), and in Baroque art the putto came to represent the omnipresence of God. A putto representing a cupid is also called an amorino (plural amorini) or amoretto (plural amoretti). Etymology The more commonly found form ''putti'' is the plural of the Italian word ''putto''. The Italian word comes from the Latin word ''putus'', meaning "boy" or "child". Today, in Italian, ''putto'' means either toddler winged angel or, rarely, toddler boy. It may have been derived from the same Indo-European root as the Sanskrit word "putra" (meaning "boy child", as opposed to "son"), Avestan ''puθra''-, Old Persian ''puça''-, Pahlavi (Middle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolas Poussin
Nicolas Poussin (, , ; June 1594 – 19 November 1665) was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Details of Poussin's artistic training are somewhat obscure. Around 1612 he traveled to Paris, where he studied under minor masters and completed his earliest surviving works. Hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Annibale Caracci
Annibale Carracci (; November 3, 1560 – July 15, 1609) was an Italians, Italian painter and instructor, active in Bologna and later in Rome. Along with the Carracci, his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque art, Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades. Early career Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family. In 1582, Annibale, his brother Agostino Carracci, Agostino and his cousin Ludovico Carracci opened a painters' studio, initially called by some the ''Academy of the Desiderosi'' (desirous of fame and learning) and subsequently the Accademia degli Incamminati, ''Incamminati'' (progressives; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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