By Beth Williamson
This Very brief creation decodes the main issues, indicators, and logos present in Christian artwork: the Eucharist, identical to the Crucifixion, the Virgin Mary, the Saints, previous and New testomony narrative imagery, and iconography. It additionally explores the theological and historic historical past of Christian imagery, from the devotional works of the Medieval and Renaissance sessions, to the twenty-first century. Williamson makes use of examples from, among others, Cimabue, Michelangelo, and Rosetti. She concludes by way of outlining the co-existence in modern 'post-Christian' tradition of the intentionally arguable works of artists akin to Andres Serrano and Chris Ofili, along the consciously devotional works of these similar to Eric Gill and Peter Blake.
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This Very brief creation decodes the most important subject matters, indicators, and logos present in Christian paintings: the Eucharist, similar to the Crucifixion, the Virgin Mary, the Saints, previous and New testomony narrative imagery, and iconography. It additionally explores the theological and historic historical past of Christian imagery, from the devotional works of the Medieval and Renaissance classes, to the twenty-first century.
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Additional info for Christian Art: A Very Short Introduction (Very Short Introductions)
They should not fear the pain and disﬁgurement connected with physical disease, because Christ’s unimaginably painful death, held up to view here, had secured for them the promise of redemption and resurrection after whatever earthly death a mortal might suffer. The ravaged skin of Christ could be interpreted as showing the Isenheim patients that he bears all their suffering and sickness himself, not only the physical pain of their illnesses, but also the ‘sickness’ of their sin, potentially much more serious and damaging, and yet relieved in its damning effects by Christ’s sacriﬁce.
The image was, like the Books of Hours examined in the previous chapter, another ‘best-seller’ of its time. 47 The body of Christ The engraving now in the British Museum in London shows the half-length Man of Sorrows appearing out of the tomb on the altar as the consecration takes place (Fig. 11). It reproduces what were clearly thought to be the salient iconographic features of the original mosaic icon: the arrangement of Christ’s body against the cross; the position of the head, dropped to one side; the ﬂowing locks of hair on the shoulders; the closed eyes; the visible wounds in the hands and side.
The index ﬁnger of Christ’s left hand is raised, and directly points out the wound in his side, as if inviting the viewer to contemplate that speciﬁc element of the image. (The side wound was often accorded special prominence, as it was close to Christ’s heart, and was sometimes portrayed in isolation, as an object of contemplation in its own right. ) The ﬁngers of Christ’s other hand rest upon the painted inscription underneath, pointing to the words ‘misericordia domini’ (the mercy of the Lord).
Christian Art: A Very Short Introduction (Very Short Introductions) by Beth Williamson