Mostrando entradas con la etiqueta Pascua: imágenes. Mostrar todas las entradas
Mostrando entradas con la etiqueta Pascua: imágenes. Mostrar todas las entradas

lunes, 3 de julio de 2023

ARTE/ La incredulidad de Santo Tomas (1601-1602), por Caravaggio




Autor:Caravaggio
Fecha:1601-02
Museo:Neues Palais
Características:107 x 146 cm.
Material:Oleo sobre lienzo
Estilo:Barroco Italiano

Este lienzo fue pintado para la familia Giuliani, que lo mantuvo en su colección hasta que pasó al Neue Palais de Postdam.

La obra nos muestra el momento en que Cristo Resucitado se ha aparecido a sus discípulos, pero Tomás aún no cree en su identidad, por lo que Cristo mete uno de sus dedos en la llaga del costado.

Este hecho, que podría parecer exageradamente prosaico, es la mayor prueba física del reconocimiento de Cristo, la definitiva demostración de su regreso desde el reino de los muertos.

Caravaggio ha ejecutado una composición que converge completamente en el punto de la llaga con el dedo metido, de tal modo que la atención de los personajes del lienzo y la de los espectadores contemporáneos se ve irremisiblemente atraída por esta "prueba" física.

El habitual naturalismo descarnado de Caravaggio se vuelve aquí casi de sentido científico: la luz fría cae en fogonazos irregulares sobre las figuras, iluminando el cuerpo de Cristo con un tono amarillento, que le hace aparecer como un cadáver, envuelto aún en el sudario (no es una túnica). El pecho todavía está hundido y pareciera que la muerte se resiste a dejarlo marchar al mundo de los vivos, manteniendo sus huellas en el cuerpo de Jesús.

domingo, 31 de marzo de 2013

Cristo se aparece a María Magdalegna, por Cornelisz Van Oostsanen


Cristo se aparece a María Magdalena (1507)
Cornelisz van Oostsanen, Jacob (1472-1533)
Staatliche Museen, Kassel (Germany)

Cristo se aparece a María Magdalena, de Rembrandt


Cristo se aparece  María Magdalena (1638)
Rembrandt Harmenszoon van Rijn (1606-1669)
Barroco centroeuropeo
Óleo sobre tabla 61x49.5 cm
Museo de Buckingham

Cristo se aparece a María Magdalena, de Nicolás Poussin


Cristo de aparece a María Magdalena (1653)
Nicolás Poussin
Barroco francés, óleo sobre tabla 47x39 cm
Museo del Prado, Madrid (España)

Cristo de aparace a María Magdalena, de Alonso Cano


Cristo se aparece a María Magdalena (1546)
Alonso Cano (1601-1661)
Museo de Bellas Artes de Budapest, Hungría.

Jesús se aparece a María Magdalena, de Lavinia Fontana


Cristo se aparece a María Magdalena (1581)
Lavinia Fontana
Galería de los Uffizi, Florencia (Italia)

Noli me tangere (No me toques) de Giotto


Noli me tangere (1304-1306)
Giotto di Bondone
Capella degli Scrovegni all'Arena, Padua (Italia)

sábado, 30 de marzo de 2013

Resurrección de Cristo, de Tintoretto


Resurrección de Cristo (1579-1581)
Jacopo Tintoretto
Oleo manierista del Renacimiento tardío
Scuola Grande di San Rocco, Venecia

sábado, 14 de abril de 2012

ARTE/ Saint Thomas Altarpiece (Cologne, Germany)










Saint Thomas Altarpiece, Wallraf-Richartz Museum, Cologne, Germany.

The Resurrection (1475), by Giovanni Bellini



The central focus of worship in a medieval Catholic church was the altar. Here the priest consecrated the bread and wine so that it became the Body and Blood of Christ. Immediately after the bread had been consecrated, he lifted it high, so that all the members of the congregation could see it.

Now imagine the drama of this scene played against the backdrop of Bellini's 'Resurrection', an altarpiece standing immediately behind the altar. As the priest raised the Host towards heaven, his action was echoed by the figure of Christ, rising heavenward from his tomb. The parallel could not have been more obvious. The image echoed what was happening in the Mass.

This was reinforced by subtle parallels in the painting. The shape of the coffin of Jesus was similar to the altar's design; on the altar itself lay a white cloth not unlike the now-discarded shroud; and a dawn sky, with budding twigs on the trees, hinted at renewal in Nature. Even some cheeky rabbits, symbols of new life, gamboled at Jesus' feet.

Source: http://www.bible-art.info/Resurrection.htm

Easter Morning (2001), by He Qi




He Qi (pronounced "Huh Chee"), is known internationally in the world of contemporary sacred art. His works have been exhibited in some of the great cities of the world. His paintings have also been seen in various media outlets such as the BBC and Hong Kong Cable TV, and have been featured in many publications, such as Asian Week, Far Eastern Economic Review, and Christianity Today. In addition, reproductions of his work grace the covers of several christian books, including a "History of Christian Art," and 12 of his paintings were used by the Presbyterian (PCUSA) calendar in 2004.

Few artists have a PhD., but Dr. He Qi earned that title in 1993 at Nanjing Art Institute, and went on to teach at Nanjing Union Theological Seminary. Dr. He Qi was the 2005-2006 Paul T. Lauby artist in residence at the Overseas Ministries Study Center, and was also featured in the 2007 exhibition "The Christian Story: Five Asian Artists Today" at the Museum of Biblical Art (MOBIA) in New York City.

Dr. He Qi was a professor at the Nanjing Union Theological Seminary and a tutor for master candidate students in the Philosophy Department of Nanjing University. He is also a member of the China Art Association and a council member of the Asian Christian Art Association (please check www.asianchristianart.org for more information about He Qi).

He has been committed to the artistic creation of modern Chinese Christian Art since 1983. He hopes to help change the "foreign image" of Christianity in China by using artistic language, and at the same time, to supplement Chinese Art the way Buddhist art did in ancient times. In his works, He Qi has blended together Chinese folk customs and traditional Chinese painting techniques with the western art of the Middle and Modern Ages, and has created an artistic style of color-on-paper painting.

Dr. He Qi was the first among Mainland Chinese to earn Ph.D. in the Religious art after Cultural Revolution. He wrote his dissertation while studying at Hamburg Art Institute in Germany, where he was also able to pursue research in medieval art. His work has been well received overseas: He has exhibited in Kyoto, Hong Kong, Geneve, Hamburg, London, St.Paul, San Francisco, Berkeley and Madison., NewHaven,Minneapolis, St.Paul, Madison, Washington, Princeton, Detroit, Tornoto, as well as in mainland China.

He won the 20th Century Award for Achievement in the field of Religious Art Theory and Christian Art Creation by the International Biographical Centre Cambridge, England.

His art works have been introduced through some main medias such as: BBC, HK Cable TV, Asian Week, Far Eastern Economic Review, Christianity Today, Upper Room, Augsburg Fortress, Sing Tao Daily News, The World Daily, etc.

viernes, 13 de abril de 2012

Resurrection of Christ and the women at the tomb (1440), by Fra Angelico, fresco




Oh, to have been a Dominican monk living in the Convent of San Marco, Florence in the late 15th century. The walls of the dormitories and cells were painted with wonderful scenes from the life of Christ, so the silence of monastic life was flooded instead with thoughts of Jesus Christ. This painting of the Resurrection of Christ, and the Women at the Tomb was painted during the artist's stay in the convent, 1436-46.

The figures are arranged with simple formality, and yet it would be wrong to think there was a lack of sophistication: Fra Angelico is intent only on his subject, and he does not distract the viewer with unnecessary details.

The grace and dignity of the women does not conceal their grief; they turn for some explanation to the figure of the angel who should, by its nature, be physically insubstantial but instead has a sort of reassuring solidity and authority. Dominic prays, head bowed and eyes lowered. The Risen Christ watches over them all.

Source: http://www.bible-art.info/Resurrection.htm

ART/ Two Disciples at the Tomb (1905), by Henry Ossawa Tanner
























An introduction to Tanner's artistic career and strong Christian beliefs. Explore Tanner's very human depiction of a religious subject taken from the Gospel of Saint John.

The reverent mood of Henry Ossawa Tanner's Two Disciples at the Tomb testifies to the painter's deeply held Christian beliefs. The son of a prominent minister of the African Methodist Episcopal Church, Tanner regarded his faith as central to his racial identity. Themes of salvation and resurrection held a particular poignancy for African Americans of Tanner's generation; while his father was a second-generation freedman, his mother had been born into slavery. Inspired by a passage from the Gospel of Saint John, Two Disciples at the Tomb depicts Peter and John as they view evidence of Christ's ascent into heaven: the empty tomb and a discarded linen shroud. By emphasizing the deeply personal nature of each man's response to the miraculous event, Tanner gave the religious subject a genuine human dimension, while at the same time presenting a reassuring allegory of promised redemption.

As a student at the Pennsylvania Academy of the Fine Arts, Philadelphia, in the 1880s, Tanner emulated the forceful Realism practiced by his teacher Thomas Eakins. His encounters with racial prejudice prompted him to leave the United States, and in 1891 he traveled to Paris to complete his education. There, Tanner's race proved to be less an obstacle to his success than it had been at home, and, although he never relinquished his American citizenship, he lived the rest of his life in France. By 1897, when he took a brief tour to Egypt and Palestine, Tanner had established an international reputation for his biblical imagery, prompting an American critic to hail him as the "Poet Painter of the Holy Land."

The Risen Christ (1957), by Michel Ciry, Paris.




How far this is from the triumphant medieval paintings of the Resurrected Christ. What a dramatic contrast to the Christ-figures of Rembrandt or della Francesca. The difference perfectly illustrates the changed image of Christ that exists in today's world.

The twentieth century has seen a de-mythologizing of Christian beliefs. Jesus' humanity has been emphasized at the expense of his divinity - indeed people often find it difficult to understand what is meant by the 'divinity' of Christ. The idea of the 'historical Christ' has taken a firm hold of the modern mind, at the expense of Jesus as God.

http://www.bible-art.info/Resurrection.htm

La Resurrección de Cristo (1612), de Peter Paul Rubens




Entre las obras que representan los pasajes más importantes de la Biblia, una de las más famosas es La Resurrección de Cristo, del pintor flamenco Rubens, que fuera realizada en el año 1612 y que decora las paredes de la Catedral de Amberes.

La pintura fue llevada a cabo junto con otras muchas piezas que le fueron encargadas a Rubens para decorar las iglesias de Amberes, luego que estas fueran despojadas de imágenes por la doctrina protestante de los años anteriores.

La confianza recayó en el maestro flamenco gracias a sus éxitos obtenidos con las obras "La erección de la cruz" y "El descendimiento", por lo que así comenzó un trabajo de casi 60 retablos para las iglesias de la ciudad y sus alrededores, siendo la "Resurrección de Cristo" el más destacado de todos.

En la obra se puede apreciar un esquema típico flamenco, ya que la misma no presenta una narración uniforme de los hechos sino que cuenta con una división de escenas, siendo la del medio la que contiene el asunto principal.

En la imagen de la izquierda se puede apreciar la figura de San Juan Bautista, mientras que a la derecha se observa una santa portando la palma del martirio, la cual se encuentra sobre un pedestal entre las ruinas de un templo clásico, como si se tratara de una estatua pictórica.

Por otra parte en el centro, donde se desarrolla el principal motivo de la obra, se puede apreciar la resurrección de Jesús luego de cumplidos los tres días de su muerte. Cristo se alza rodeado de un halo de luz, mientras los soldados que custodiaban el sepulcro observan el acontecimiento con gestos de sorpresa y pánico.

Los cuerpos de ls soldados se presentan en posturas forzadas, mientras que el de Jesús expresa serenidad y equilibrio, marcando un contraste simbólico muy característico de las pinturas del movimiento Barroco.

Aunque se trata de una obra muy personal de Rubens, se puede ver cierta influencia del artista italiano Caravaggio en el juego de luces y sombras, mientras que la potente musculatura que poseen los diferentes personajes está inspirada en las grandes obras del también pintor italiano Miguel Ángel.