Discover Top Posts Tagged with #flowing tunics

Popular Recent

Dead Christ Supported by Angels

Artist: Francesco Trevisani (Italian, Capodistria 1656–1746)

Date: ca. 1710

Medium: Oil on canvas

Collection: Metropolitan Museum of Art, New York City, NY, United States

Justice (or Prudence, Justice and Peace)

Artist: Jürgen Ovens (Dutch, 1623–1678)

Date: 1662

Medium: Oil on canvas

Collection: Royal Palace of Amsterdam, Amsterdam, Netherlands

Description

This painting of Prudence, Justice, and Peace depicts the three cardinal virtues, with Prudence on the left, Justice in the center, and Peace on the right. The work portrays these abstract concepts as allegorical figures, showing how they work together to create a peaceful and just society, with Prudence guiding the others, Justice making fair judgments, and Peace bringing the result of their efforts.

Prudence: Represented as an intelligent, strong-willed figure on the left, Prudence uses reason to govern and discipline. Her hand reaches for a sword, indicating her readiness to lay down the law.

Justice: Seated in the center, Justice is portrayed as a neutral judge wearing red and white to symbolize authority and honesty. She looks towards Peace.

Peace: Positioned on the right, the figure of Peace eagerly looks toward Justice, representing the state of calm that results from the wise and fair actions of the other two virtues.

Laus Veneris (In Praise of Venus)

Artist: Edward Burne-Jones (English, 1833-1898)

Date: 1873-1878

Medium: Oil with gold paint on canvas

Collection: Private Collection

The Seven Archangels

Artist: Massimo Stanzione (Italian, 1585-1656)

Date: 1620

Medium: Oil on canvas

Collection: The National Heritage of Spain, Madrid, Spain

Christ and St Mary Magdalene at the Tomb

Artist: Rembrandt van Rijn (Dutch, 1606-1669)

Date: 1638

Medium: Oil on panel

Collection: Royal Collection Trust, London, United Kingdom

Description

Christ and St Mary Magdalene at the Tomb reveals how imaginatively Rembrandt could interpret traditional religious subject-matter. The scriptural source for this scene is the Gospel of St John (20:11-18), who describes in some detail the burial and subsequent resurrection of Christ following the Crucifixion. Mary Magdalene returns to the tomb early the next morning, only to find the stone at the entrance removed and two angels inside it where the body should have been. She then fetches two of the disciples, who check that the tomb is empty and then leave her. The angels then ask Mary Magdalene, ‘Woman, why weepest thou?’ and she replies, ‘Because they have taken away my Lord, and I know not where they have laid him.’ At that moment she turns round and sees a man dressed as a gardener, not appreciating that he is the resurrected Christ. She appeals to him for information, but he calls her by her name and she instantly recognizes him. (‘Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say master.’) Rembrandt has depicted the moment of realization just before the actual recognition. Most artists chose to paint the next moment in the text, when Mary Magdalene reaches out towards Jesus and he forestalls her with the words ‘Touch me not’ (in Latin, Noli me tangere).