In the foreground lies the Christ, that Joseph of Arimathea and Saint John are preparing to enlinceuler. Behind them stood the Virgin throws in heaven a look of pain, while at his feet, Madeleine mourns the loss of Christ. This work differs from some usual biases of the artist, which favors in principle the large brown beaches enceignent light colors of the spots, and the construction of the composition by management looks. The attention of the viewer is nonetheless irresistibly attracted by the body of Christ, the bright and clear complexion that form an arc in the foreground. The composition, pyramidal, classic appearance, is made more remarkable by the Virgin's gesture of despair that seems to keep the Joseph right arm holding the shroud of Christ. This helps to reinforce the dramatic dimension of the scene. The attention to detail Jouvenet is noticeable here in the foreground, in the shiny copper basin, in which floats in water red with blood, the sponge that was used to wash the body of Christ. More
Jean-Baptiste Jouvenet (1 May 1644 – 5 April 1717) was a French painter, especially of religious subjects. He was born into an artistic family in Rouen. His first training in art was from his father, Laurent Jouvenet.
Jouvenet early showed remarkable aptitude for his profession, and, on arriving in Paris, attracted the attention of Le Brun, by whom he was employed at Versailles, notably in the Salon de Mars (1671–74), and under whose auspices, in 1675, he became a member of the Académie royale, of which he was elected professor in 1681, and one of the four perpetual rectors in 1707. He also worked under Charles de La Fosse in the Invalides and Trianon.
The great mass of works that he executed, chiefly in Paris, many of which, including his celebrated Miraculous Draught of Fishes are now in the Louvre, show his fertility in invention and execution, and also that he possessed in a high degree that general dignity of arrangement and style which distinguished the school of Le Brun. His compositions are primarily planned as high reliefs, and the movements are in sharp diagonal straight lines rather than in curves.
Jouvenet died on 5 April 1717, having been forced by paralysis during the last four years of his life to work with his left hand. More
This unusually large panel painting depicts three facets of Marian iconography: the Virgin's corporeal assumption, the Immaculate Conception—the crescent moon and the radiance behind her identify Mary as the Woman of the Apocalyse, mentioned in Revelation 12:I—and the Coronation of the Virgin.
Mary, Queen of Heaven, c. 1485-1500
The Good Samaritan (after Delacroix, below), c. 1890
oil on canvas
73 × 60 cm
The Good Samaritan (1849)
oil on canvas
37 × 30 cm
The Raising of Lazarus (after Rembrandt), c. 1890
oil on canvas
50 × 65 cm
Van Gogh Museum, Amsterdam
Adam and Eve was Klimt's first biblical painting. Certainly it was the only one to present humankind in a state of grace, for the scene would seem to be set before the Fall, perhaps at the moment of Eve's creation. As the sole truly chaste woman, Eve is a heroine very different from Judith. Klimt's contemporaries remarked that his ideal woman generally departed significantly from the Viennese notion of beauty: she was slender rather than buxom, redhaired or brunette rather than blond. This "Old Testament type" (as Klimt's typical heroine was euphemistically called) had an aura of exoticism that was both appealing and intentionally frightening. More