School of the Lower Rhine, THE BETRAYAL OF CHRIST 01 Works, RELIGIOUS ART – Interpretation of the bible, with Footnotes – 152

School of the Lower Rhine, circa 1510-15
THE BETRAYAL OF CHRIST

Oil on oak panel
89.1 x 72.3 cm.; 35 x 28 1/2 in.
Private collection

The kiss of Judas, also known as the Betrayal of Christ, is how Judas identified Jesus to the multitude with swords and clubs who had come from the chief priests and elders of the people to arrest him, according to the Synoptic Gospels. The kiss is given by Judas in the Garden of Gethsemane after the Last Supper and leads directly to the arrest of Jesus by the police force of the Sanhedrin.


More broadly, a Judas kiss may refer to “an act appearing to be an act of friendship, which is in fact harmful to the recipient” More on the Betrayal of Christ


Till-Holger Borchert situates this works in the immediate milieu of the workshop of Derick Baegert and his son Jan in Wesel.


Derick Baegert, (?), ca. 1440 – Wesel, ca. 1515, was the head of a family of painters who worked in the Rhineland area in Germany during the last third of the 15th century and the first third of the 16th. Baegert organised a productive workshop in Wesel with his son Jan and Jan Joest, who was possibly his nephew. He also worked in Dortmund, Cologne and Kalkar. Stylistic similarities between his work and that of the Utrecht school suggests that he trained there. In 1476 he is recorded in Wesel, a city where his son worked as an independent master in 1490. Father and son travelled together to the Low Countries in 1482, a fact that is crucial for the evolution of their art. Although he borrowed elements from Netherlandish art, Derick’s style always remained close to that of the late Gothic. He tended to locate his figures in a narrow zone that acts as an intermediary point between the foreground and background. More on Derick Baegert

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Robert Combas, he Crusaders 01 Works CONTEMPORARY Interpretation of the Bible! With Footnotes – 35

Robert Combas, (b. 1957)
The Crusaders or the Crusade, 1986

Acrylic on canvas
Signed and dated lower right
162 x 135 cm
Private collection

Robert Combas is a French painter and sculptor, born May 25, 1957 in Lyon, France and now living and working in Paris.


He is widely recognized as a progenitor of the figuration libre movement that began in Paris around 1980 as a reaction to the art establishment in general and minimalism and conceptual art in particular.


Combas’ own work has always been strongly rooted in depictions of the human figure. The figures are often in wild, violent or orgiastic settings. Usually on large, often unstretched canvases, Combas crowds his flat pictorial space with a teeming proliferation of bodies, street poetry and designs reminiscent of the compulsive patterning in much folk and outsider art. He creates hectic narratives of war, crime, sex, celebration and transgression.


While Combas’ works often seem to carry an element of shock or confrontation, he insists the images are meant to engage the viewer, and their execution in vibrant color and bold, unfettered line communicate a spirit of proletarian camaraderie that offsets the tendency to overwhelm, in the larger works especially. More on Robert Combas

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Marina Del Pozo, Judith 01 Painting, CONTEMPORARY & 20th Century Interpretation of the Bible! With Footnotes – 34

Marina Del Pozo, Spain
Judith

Painting
25.6 H x 21.3 W x 0.8 in
Private collection

The Book of Judith is the Old Testament of the Bible. The story revolves around Judith, a daring and beautiful widow, who is upset with her Jewish countrymen for not trusting God to deliver them from their foreign conquerors. She goes with her loyal maid to the camp of the enemy general, Holofernes, with whom she slowly ingratiates herself, promising him information on the Israelites. Gaining his trust, she is allowed access to his tent one night as he lies in a drunken stupor. She decapitates him, then takes his head back to her fearful countrymen. The Assyrians, having lost their leader, disperse, and Israel is saved. Though she is courted by many, Judith remains unmarried for the rest of her life. More on The Book of Judith

Marina del Pozo: “Painting is for me one of the most important aims in my life ,the other two are my daughters. I like very much also to draw specially with ink. I lived in Japan for six months and love to paint with chinesse brushes.To observe and reproduce some images of my favorites painters as a declaration of love is one of my sources of inspiration and to Paint plein air is the other. I absolutely love to observe and interact before what I choose to Paint.” More on Marina del Pozo

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Sir Anthony van Dyck, Removal of the cross 01 Work, RELIGIOUS ART – Interpretation the bible, With Footnotes – 124

After Sir Anthony van Dyck, (1599–1641)
Removal of the cross

Oil on canvas
140 x 120
Private collection

The Descent from the Cross, Deposition of Christ, or Removal of the cross, is the scene, as depicted in art, from the Gospels’ accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.

Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. More on the decent from the cross

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

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Sir Anthony van Dyck, Descent from the Cross 01 Works, RELIGIOUS ART – Interpretation the bible, With Footnotes – 122

Sir Anthony van Dyck, (1599–1641)
Descent from the Cross

Oil on canvas
Height: 195 cm (76.7 in); Width: 166 cm (65.3 in)
National Gallery of Armenia

The Descent from the Cross, or Deposition of Christ, is the scene, as depicted in art, from the Gospels’ accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion. In Byzantine art the topic became popular in the 9th century, and in the West from the 10th century. The Descent from the Cross is the 13th Station of the Cross.

Other figures not mentioned in the Gospels who are often included in depictions of this subject include St. John the Evangelist, who is sometimes depicted supporting a fainting Mary, and Mary Magdalene. More on the decent from the cross

Sir Anthony van Dyck, ( 22 March 1599 – 9 December 1641) was a Flemish Baroque artist who became the leading court painter in England, after enjoying great success in Italy and Flanders. He is most famous for his portraits of Charles I of England and his family and court, painted with a relaxed elegance that was to be the dominant influence on English portrait-painting for the next 150 years. He also painted biblical and mythological subjects, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. The Van Dyke beard is named after him. More Sir Anthony van Dyck

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Jacques du Broeucq, Charity 01 Carving, 15 & 16th Century Carvings & Sculpture from the Bible!; With Footnotes – 8c

Circle of Jacques du Broeucq, (ca. 1500–1584)
Charity, c. mid-16th century

Alabaster, traces of gilding
H. 54 3/4 x W. 17 1/2 x D. 12 3/8 in. (139.1 x 44.5 x 31.4 cm)
Metropolitan Museum of Art.

Roman Charity is the exemplary story of a woman, Pero, who secretly breastfeeds her father, Cimon, after he is incarcerated and sentenced to death by starvation. She is found out by a jailer, but her act of selflessness impresses officials and wins her father’s release.

The story is recorded by the ancient Roman historian Valerius Maximus, and was presented as a great act of filial piety and Roman honour. A painting in the Temple of Pietas depicted the scene. Among Romans, the theme had mythological echoes in Juno’s breastfeeding of the adult Hercules, an Etruscan myth. More on Roman Charity

Girolamo Viscardi (1467-1522) ia a Genoese sculptor whose work played an important role in the introduction of the Italian Renaissance style to France around 1500. Girolamo was first employed by Antonio della Porta before collaborating with Giovanni and Michele d’Aria on a tomb monument. During the French occupation of Genoa from 1499, Girolamo began to receive commissions from France, including in 1507 the sculptural decoration for the church of Sainte-Trinité in Fécamp. More on Girolamo Viscardi

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VIRGIN OF THE ANNUNCIATION 01 Carving, 15 & 16th Century Carvings & Sculpture from the Bible!; With Footnotes – 8b

Attributed to Jacques du Broeucq, (1505-1584), Southern Netherlandish, circa 1550
VIRGIN OF THE ANNUNCIATION

Alabaster
41cm., 16 1/8 in.
Private collection

The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning “YHWH is salvation”.

According to Luke 1:26, the Annunciation occurred “in the sixth month” of Elizabeth’s pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation

Girolamo Viscardi (1467-1522) ia a Genoese sculptor whose work played an important role in the introduction of the Italian Renaissance style to France around 1500. Girolamo was first employed by Antonio della Porta before collaborating with Giovanni and Michele d’Aria on a tomb monument. During the French occupation of Genoa from 1499, Girolamo began to receive commissions from France, including in 1507 the sculptural decoration for the church of Sainte-Trinité in Fécamp. More on Girolamo Viscardi

Please visit my other blogs: Art CollectorMythologyMarine ArtPortrait of a Lady, The OrientalistArt of the Nude and The Canals of VeniceAnd 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.

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