Happy Pascha (Eastern Church Easter)
The resurrection of Jesus Christ from the dead is the center of the Orthodox Christian faith. Twelve weeks of preparation precede it. This is made up of pre-lenten Sundays, Great Lent, and Holy Week. The faithful try to make this long journey with repentance, forgiveness, reconciliation, prayer, fasting, almsgiving, and study. When the feast finally arrives, it is celebrated with a collection of services combined as one...
Christ is Risen
I have no description of this artwork. It may appear later
On the right is Abel, son of Adam and Eve, holding his shepherd’s staff. Abel is considered the protomartyr — the “first martyr,” because he was killed by his brother Cain.
The keys to Hell and the grave are depicted trampled beneath His feet, and in many icons in this motif Death is depicted vanquished and chained.
Augustin Hirschvogel, German
The Risen Christ, c. 1550
Etching
4 5/8 × 6 1/16 in. (11.8 × 15.4 cm)
The Metropolitan Museum of Art
According to Jewish customs, the seven myrrh -bearing women decided to anoint the body of the Savior with fragrant myrrh - hence their name Myrrhbearer comes from. Wives followed the Savior throughout His earthly life, taking upon themselves His worldly and domestic concerns. They remained faithful to the Son of God when he was dying on the cross, and then asked the procurator Pontius Pilate for permission to take away the body of the Savior in order to perform the burial.
Not afraid of the guards and overcoming the natural fear of a person before death, the myrrh-bearing women were the first to receive the happy news of the Resurrection. From now on, in the third week after the end of Easter, Christians celebrate a holiday in their honor. More on Seven myrrh -bearing women
Robert Anning Bell RA (1863 - 1933)
The Women going to the Sepulchre, c. 1912
Oil on canvas
760 mm x 1270 mm
Royal Academy of Arts
Robert Anning Bell's painting shows the Virgin Mary leading a procession of holy women into Christ's tomb (or sepulchre) on the day following the Crucifixion. The women carry fragrant oils to anoint the body and Mary Magdalen, identified by her long red hair, can be seen on the right holding a jar of myrrh
Anning Bell specifically chose this quiet moment just before the women discover that Christ's body has disappeared. The painting has an air of solemn piety evoked by the cool, subdued colours, frieze-like composition and barren landscape. The artist also worked as a sculptor, illustrator and designer of stained glass and mosaics. Here, the colouring and simplicit. More on this painting
Robert Anning Bell was British painter, sculptor, designer, illustrator, and teacher, born in London. His highly varied artistic training began with two years in an architect's office, continued at the *Royal Academy and the Westminster School of Art, and was rounded off with stays in Paris and Italy. He gained some of his sculptural expertise by sharing a studio for a while with Sir George *Frampton. Bell's interest in the architectural setting of art helped him to win numerous decorative commissions for mosaics, stained glass, and relief sculpture. His clear, linear style, influenced by Italian Renaissance art, was well suited to this type of work. Examples of his mosaics are in Westminster Cathedral and the Houses of Parliament, and his stained glass includes the Shakespeare window in Manchester Reference Library.
His second wife, Laura Anning Bell (1867–1950), was a portraitist, mainly in pastel. More on Robert Anning Bell
Russian icon
Seven myrrh-bearing women, c. 17th
I have no further description, at this time
Above in the valley between the mountains, the resurrected Christ (between earth and sky) against the backdrop of Mount Jerusalem (the city on the upper right) is talking with Mary Magdalene.
With all the variety of icon-painting creations dedicated to this biblical story, the images of the icons of the Holy Myrrh-bearing Women often differ greatly from each other in composition and artistic solution. Even the number of depicted female figures on the image can be different, from seven to three. This is due to the different versions of the texts interpreting the story of women who came early in the morning to the Holy Sepulcher.
The White Angel of the Lord, with raised wings, sits on a stone that shuts the entrance to the cave, near the empty tomb, where the shroud of Christ lies.
In front of the angel are seven myrrh-bearing women with vessels with the world in their hands: first row: Martha of Bethany (Mary's sister); Virgin Mary (Mother of God; was there according to Gregory of Nyssa); Maria (sister of Martha); Salome;
top row: Maria (other), Susanna, Anna. More on this work
Augustin Hirschvogel, German
Risen Christ Appearing to the Disciples, c. 1547
Etching
4 11/16 in. × 6 in. (11.9 × 15.3 cm)
The Metropolitan Museum of Art
Augustin Hirschvogel (b. 1503, Nürnberg, d. 1553, Wien) was a German glass painter, etcher, cartographer and mathematician, part of a family of artists. They were Nuremberg's leading stained-glass painters during the late 15th century and the 16th. Veit Hirschvogel the Elder, the son of a glazier named Heinz (d. 1485), established the family workshop and became the city's official glazier. Augustin, the most talented of the family, left it in 1525 to pursue a varied career outside Nuremberg, producing many etchings and also innovations in cartography.
Augustin Hirschvogel trained as a stained-glass painter in his father's workshop and remained there until his father's death in 1525. In that year Nuremberg accepted the Reformation, spelling the end of monumental stained-glass commissions. This must have profoundly reduced the production of the workshop, now run by his elder brother Veit, and may have forced Augustin to become more versatile. By 1530 he had established his own workshop but in 1531 formed a partnership with the Nuremberg potters Hanns Nickel (active c. 1530) and Oswald Reinhart (active c. 1530), presumably to share their kiln. This partnership, coupled with Johann Neudörfer's confusing comments about Hirschvogel in his Nachrichten (1547), formerly led to speculation about his having made a ceramic stove and pots in a classicizing Italianate style. It is more likely that the vessels made by Augustin and described in documents as in a Venetian style were glass, not earthenware. More on Augustin Hirschvogel
Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest
Images are copyright of their respective owners, assignees or others.
Some Images may be subject to copyright
I don't own any of these images - credit is always given when due unless
it is unknown to me. if I post your images without your permission, please tell
me.
I do not sell art, art prints, framed posters or reproductions. Ads are
shown only to compensate the hosting expenses.
If you enjoyed this post, please share with friends and family.
Thank you for visiting my blog and also for liking its posts and pages.
Please note that the content of this post primarily consists of articles
available from Wikipedia or other free sources online.
No comments:
Post a Comment