Saturday July 14th is a day I will never forget as it is the day I found my eastern icon Theotokos. More beautiful then you can imagine in person & almost makes me weep. Mother & child are painted brown skinned which is a much more appropriate representation, n’est-ce pas?👏🏻❤️😇
What better to do on this hot day than to serve!? The media team at FLC was busy helping this amazing lady with anything and everything we could around her home. We made sure the love of God was overflowing from her home. I was inspired to paint a memory of God’s love to us to encourage others and lend a hand when and where it is needed. Spread the love!
Style: Early Renaissance
Genre: religious painting
🇮🇹Il Cristo, guardato di fronte, pare abbia il capo completamente incassato nelle spalle, come arreso alla morte. In realtà la tavola va vista dal basso verso l'alto come quando era collocata nel suo sito originario, ed in questa prospettiva il collo appare nascosto dal torace innaturalmente sporgente. Anche il corpo, con le gambe disarticolate dal supplizio, appare sfalsato dalla prospettiva. Masaccio tentò di scorciare in prospettiva il corpo del Cristo, ma l'effetto sperimentale ottenuto fu più maldestro che illusionistico. In ogni caso fu il primo tentativo del genere e ben testimonia il clima sperimentale del primo Rinascimento fiorentino. La scena sembrerebbe immobile — come se con il trapasso di Cristo anche il tempo si fosse fermato — se non fosse per la presenza della Maddalena che vediamo solo di spalle, i lunghi capelli biondi disciolti sul suo manto scarlatto, e pare aver fatto da poco irruzione nella scena ed agitarsi scomposta dal dolore.
Inginocchiata ai piedi di Cristo, le braccia aperte e tese al cielo che ricordano i gesti drammatici delle «lamentatrici» nell'antico pianto funebre della tradizione mediterranea, la Maddalena ha, in questa tavoletta di Masaccio, una impareggiabile forza espressiva che segna il culmine del pathos della scena.(@wikipedia) . . . . .
The dignity of the artist lies in his duty of keeping awake the sense of wonder in the world. –Marc Chagall (1887-1985)
Chagall’s quote evokes the striking renderings of nature found in early Netherlandish painting. Presenting the Crucifixion with the normal cast of characters (Virgin Mary, Saint John, and Saint Paul); the artist utilizes the vividness of pigment and minute detail to create a quite moving composition - bringing together nature and figure in an ethereal balance.
Although stylistically the painting lends itself to the Netherlands, it was most likely either commissioned by an Italian Patron or created with an Italian market in mind as indicated by the inclusion of Saints Anthony of Padua and Nicholas of Tolentino (right wing). Small triptychs such as this example were typically used as personal devotional objects and personalized in a manner that either directly celebrated the patron or the geographic domain under their ownership.
Joos van Cleve (Netherlandish, ca. 1485-1540/41) and collaborator, The Crucifixion with Saints and a Donor, ca. 1520. Oil on wood. Bequest of George Blumenthal, 1941. Metropolitan Museum of Art.
Tanner favored religious subjects, in part because of his family’s strong spiritual convictions and professional ties to the church. The Disciples See Christ Walking on the Water interprets the Gospel of Matthew (14:24-28): But the ship was now in the midst of the sea, tossed with waves: for the wind was contrary. And in the fourth watch of the night Jesus went unto them, walking on the sea. And when the disciples saw him walking on the sea, they were troubled, saying, It is a spirit; and they cried out for fear. But straightaway Jesus spake unto them, saying, Be of good cheer; it is I; be not afraid. And Peter answered him and said, Lord, if it be thou, bid me come unto thee on the water. Rather than making Jesus the focus of the composition, Tanner highlights both the mystical atmosphere and the Apostles’ startled reactions to the scene. The arrangement is cropped below the horizon line which allows for the entire event to happen in the monochromatic expanse of the water, enhancing the uncanny tone of the work. Interestingly, Tanner portrays the sea as calm, although the Gospel describes it as “tossed with waves” because he preferred meditative scenes. In the boat, each Apostle poses with expressive tension: Peter, the tallest figure, lowers his head and appears to be either extending his arms in acceptance or perhaps grasping the rigging for security, another kneels in prayer yet arches backwards with trepidation, and the figures in the stern cower and cover their eyes. Christ is depicted as a ghostly column of light in the upper left corner of the painting whose path is lit by the moon’s reflection on the sea. Alongside this compelling narrative, the painting is one the strongest examples of Tanner’s masterful use of color. The scene plays out in endless variations of blue. The thick layers of paint add a rich texture to the surface, and add even more depth and shading to the water, sky, and figures. @desmoinesartcenter
Henry Ossawa Tanner “The Disciples See Christ Walking on the Water”
Oil on canvas (49 3/4 × 39 7/8 inches)
Des Moines Art Center - Des Moines, Iowa
Antique Italian painting of the mid-18th century. Work oil on canvas, in the first canvas, depicting the subject of sacred art #madonnawithchild of excellent pictorial hand. Painting of great solemnity and character with wooden frame coeval. Florence 18th Century. For Sale from Borrelli Antichita on Antiques Atlas. To locate the item type the id code as906a108 into the search on Antiques Atlas.