Christ in Art (Temporis Collection)
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Since the dawn of Christianity, artists have been fascinated and stirred by the figure of Christ. His likeness appears in frescoes on the walls of catacombs that date from Roman times; he is featured in the stained glass windows of Gothic churches; and he can be found in various forms in today’s pop culture.The Biblical Saviour is not a static, immaterial deity: Christ’s mortal birth, unusual life and dramatic death make him an accessible subject for religious and secular artists alike. Whether they show the spirituality of God Incarnate or the earthly characteristics of a flesh-and-blood man, artistic depictions of Christ are the most controversial, moving or inspirational examples of religious art.
This richly illustrated book explores the various ways that Christ is rendered in art, from Cimabue’s Nativity scenes and Fra Angelico’s paintings of the Crucifixion to the provocative portraits of Salvador Dalí and Andres Serrano. Author Joseph Lewis French guides the reader through the most iconic representations of Christ in art – tender or graphic, classical or bizarre, these images of the Messiah reveal the diverse roles of the Son of God in the social milieus and personal lives of the artists.
thirst after righteousness; for they shall be filled. “Blessed are the merciful; for they shall obtain mercy. “Blessed are the pure in heart; for they shall see God. “Blessed are the peace-makers; for they shall be called the children of God. “Blessed are they which are persecuted for righteousness’ sake; for theirs is the kingdom of heaven.” His preaching was sweet and gentle, full of nature and of the perfume of the fields. He loved flowers, and he took from them his most charming lessons. The
canvas, 237 x 261 cm. such stories were largely developed. We may believe, however, that they were already in circulation while The National Gallery, London. he was living, without encountering anything more than a pious credulity and an artless wonder. Christ the Messiah That Jesus had never thought of passing for an incarnation of God, we cannot doubt. Sometimes even Jesus seems to take precautions to repel such a doctrine. The accusation that he made himself God or the equal of God is
of style, the essential Watercolour on paper, 37.7 x 32.2 cm. characteristic of which is to give to metaphor, or rather to the idea, complete reality. Victoria and Albert Museum, London. 155 Increasing Enthusiasm and Exaltation It is clear that such a religions society, founded solely upon the expectation of the kingdom of God, must be in itself very incomplete. The first Christian generation lived entirely upon expectations and dreams. On the eve of seeing the world come to an end, they
nature. He says to a man: “Follow me!” “Lord”, replies the man, “suffer me first to go and bury my father.” Jesus responds: “Let the dead bury their dead: but go thou and preach the kingdom of God.” Another says to him: “Lord, I will follow thee; but let me first go and put in order the affairs of my house.” Jesus replies: “No man living put his hand to the plough, and looking back, is fit for the kigdom of God.” An extraordinary confidence, and at times accents of wonderful sweetness,
such wonders. With his ordinary tact, Jesus refused. He took good care not to wander forth into an irreligious world that desired of him nothing but a vain amusement. He aspired only to gain the believers and reserved for the simple means good for them alone. For a moment, a rumour spread that Jesus was none other than John the Baptist resuscitated from the dead. Antipater was anxious and troubled so he employed a ruse to rid his dominions of the new prophet. Some Pharisees, apparently friends of