"sits vertically with the dead Christ on her lap, his body appearing extremely small. The positioning of the two bodies creates the Pieta, which means pity in Italian and is a representation of The Virgin Mary mourning dead Christ. The Three Maries are circling the inner group expressing despair. Mary Magdalen is positioned at the feet of Christ in turmoil. St.John sits above The Virgin Mary and cradles her head in an attempt to soothe her. Joseph of Arimathea stands above the group holding the crown of thorns and three nails. Botticelli paints the figures in contorted and distorted poses."
"the collection of the National Gallery in Prague. It was there that Jiří Tesář restored it in 1965. The relief was carved out of lime wood; it measures 126 x 121 x 15 cm and features traces of original polychromy. Portraying nine figures, the scene is arranged in two spatial planes. In the foreground, Mary holds the body of the dead Christ in her arms. She is accompanied on her left by St. John, who is taking the crown of thorns from Christ’s head, and Mary Magdalene who brings a vessel containing balsam. In the background there probably stands one"
"Mond Crucifixion The Mond Crucifixion (or Crocifissione Gavari; both names are after former owners) is a painting by the Italian renaissance artist Raphael. An early work influenced by Perugino, it was originally an altarpiece in the church of San Domenico, Città di Castello, near Raphael's hometown of Urbino. The painting shows Jesus on the cross, who is looking peaceful even though he is dying. There are two angels catching his blood in chalices. On Jesus' left kneels Mary Magdalene, with John the Evangelist standing behind her. On his right Mary stands, and St. Jerome, to whom the altar was dedicated,"
"Death of the Virgin The Death of the Virgin Mary is a common subject in Western Christian art, the equivalent of the Dormition of the Theotokos in Eastern Orthodox art. This depiction became less common as the doctrine of the Assumption gained support in the Roman Catholic Church from the Late Middle Ages onward. Although that doctrine avoids stating whether Mary was alive or dead when she was bodily taken up to Heaven, she is normally shown in art as alive. Nothing is said in the Bible about the end of Mary's life, but a tradition dating back to at"
"Pietà (Southern German, Cloisters) Pietà (German: Vesperbild) a small painted wood sculpture dated to c. 1375–1400, now in the collection of the Cloisters, New York. Very little is known of it, except that is probably of southern German origin. The statuette emphasises the suffering of both the Virgin and Jesus Christ. Mary is shown in grief and mourning, holding the body of her son on her lap, as she leans over him and faces towards his crown of thorns. Christ body is emaciated, shrunken, decomposing and lacerated with the wounds of his crucifixion. Because of its small size and intimacy,"
"The Crucifixion (Cranach) Crucifixion is an oil painting by German artist Lucas Cranach the Elder. One of many versions of the subject painted by Cranach, this one, created in 1532, is now in the Indianapolis Museum of Art. The bottom half of the painting is crowded with figures, all symbolically arranged to the left and the right of Christ. On the right is the Virgin Mary, who is held by John the Evangelist, and Mary Magdalene is holding onto the Cross. The Good Thief and Longinus gaze directly at him, alluding to their salvation. There is a sharp contrast to"
"Assumption of the Virgin Mary (Rubens) The Assumption of the Virgin Mary or Assumption of the Holy Virgin, is a painting by Peter Paul Rubens, completed in 1626 as an altarpiece for the high altar of the Cathedral of Our Lady, Antwerp, where it remains. In Rubens' depiction of the Assumption of Mary, a choir of angels lifts her in a spiraling motion toward a burst of divine light. Around her tomb are gathered the 12 apostles — some with their arms raised in awe; others reaching to touch her discarded shroud. The women in the painting are thought to"
"Stabat Mater (art) Stabat Mater (Latin for ""the mother was standing"") is a feature in the Crucifixion of Jesus in art in which the Virgin Mary is depicted under the cross during the Crucifixion of Christ. In these depictions, the Virgin Mary is almost always standing to the right hand side of the body of her son Jesus on the Cross, with Saint John the Apostle standing to the left. It contrasts with the swoon of the Virgin, where she is seen fainting. This is only seen from the late medieval period onwards. Stabat Mater is one of the three"
"Pietà A pietà (; meaning ""pity"", ""compassion"") is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture. As such, it is a particular form of the Lamentation of Christ, a scene from the Passion of Christ found in cycles of the Life of Christ. When Christ and the Virgin are surrounded by other figures from the New Testament, the subject is strictly called a ""lamentation"" in English, although ""pietà"" is often used for this as well, and is the normal term in Italian. Pietà is one of the three"
"the Virgin. Death of the Virgin The Death of the Virgin Mary is a common subject in Western Christian art, the equivalent of the Dormition of the Theotokos in Eastern Orthodox art. This depiction became less common as the doctrine of the Assumption gained support in the Roman Catholic Church from the Late Middle Ages onward. Although that doctrine avoids stating whether Mary was alive or dead when she was bodily taken up to Heaven, she is normally shown in art as alive. Nothing is said in the Bible about the end of Mary's life, but a tradition dating back"
"The Taking of Christ (Caravaggio) The Taking of Christ () is a painting, of the arrest of Jesus, by the Italian Baroque master Michelangelo Merisi da Caravaggio. Originally commissioned by the Roman nobleman Ciriaco Mattei in 1602, it is housed in the National Gallery of Ireland, Dublin. There are seven figures in the painting: from left to right they are John, Jesus, Judas, three soldiers (the one farthest to the right barely visible in the rear), and a man holding a lantern to the scene. They are standing, and only the upper three-quarters of their bodies are depicted. Judas has"
"Marian art, and well known Catholic symbolism such as the Miraculous Medal and Pope John Paul II's Coat of Arms bearing a Marian Cross. And a number of Marian devotions also involve the presence of the Virgin Mary in Calvary, e.g., Pope John Paul II stated that ""Mary was united to Jesus on the Cross"". Well known works of Christian art by masters such as Raphael (e.g., the Mond Crucifixion), and Caravaggio (e.g., his Entombment) depict the Virgin Mary as part of the crucifixion scene. Crucifixion of Jesus The crucifixion of Jesus occurred in 1st-century Judea, most likely between AD"
"crucifixion yet evokes pointedly the Christian message of Jesus' horrible suffering; originally intended for a hospital, the altar painting may have been designed to provide comfort and solace to the sick."" Mary, the mother of Jesus, is shown at Christ's right, collapsing in anguish in the arms of John, the beloved disciple of Christ, and shrouded in a large piece of white cloth. At Christ's left, John the Baptist is accompanied by a lamb, symbolising the sacrifice of Jesus. The presence of John the Baptist is anachronistic. Beheaded by order of Herod in 29 AD, he could not possibly have"
"was adapted by French carvers, although with softer and less brutally realistic tones. The work shows an enthroned and sorrowful Virgin holding the lifeless body of the dead Christ. The image is realistic and grim; his ribs protrude, his stomach is sunken and he shows visible signs of rigor mortis; and he bears the bloody wounds of the Passion, with the stigmata on his hands, feet, and side. Mary's upper body is somewhat rigid, stiff and awkward, compared to the fluidity of Christ, and the lower layers of her dress. According to art historian William Forsyth, the ""large soft folds"
"Lamentation (Gerard David) The Lamentation of Christ is a painting of the common subject of the Lamentation of Christ by the painter and manuscript illuminator Gerard David, originally a wing of a now dismantled and lost altarpiece. It portrays the body of Christ wrapped in his shroud and being anointed. Mary Magdalene is at his feet, as the Virgin Mary holds him in her arms, weeping for his death watched over by Saint John. Four other grieving figures are present; they may be Saint Anne, the mother of the Virgin, and women who followed Christ. While its exact dating is"
"figure of Mary, Mother of Jesus (the head of this figure has been lost), with her hand supporting the head of her son's corpse. Opposite Mary, on the right side of the scene, is John the Apostle, holding a book. The upper register shows the torso of the ascended Christ wearing a cross halo and a victory flag. Alongside the flag, the figure is holding a small representation of a human figure with raised hands. To the left and right, anthropomorphic representations of Sun and Moon are shown, holding drapes. The lower register shows two kneeling figures, a naked bearded"
"The Deposition (Michelangelo) The Deposition (also called the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance master Michelangelo. The sculpture, on which Michelangelo worked between 1547 and 1555, depicts four figures: the dead body of Jesus Christ, newly taken down from the Cross, Nicodemus (or possibly Joseph of Arimathea), Mary Magdalene and the Virgin Mary. The sculpture is housed in the Museo dell'Opera del Duomo in Florence and is therefore also known as the Florentine Pietà. According to Vasari, Michelangelo made the Florence Pietà to decorate his tomb in Santa"
"Madonna of the Carnation The Madonna of the Carnation, a.k.a. Madonna with Vase or Madonna with Child, is a Renaissance oil painting by Leonardo da Vinci created around 1478-1480. It is permanently displayed at the Alte Pinakothek gallery in Munich, Germany. The central and centered motif is the young Virgin Mary seated with Baby Jesus on her lap. Depicted in precious clothes and jewellery, with her left hand Mary holds a carnation (interpreted as a healing symbol). The faces are put into light while all other objects are darker, e.g. the carnation is covered by a shadow. The child is"
"person covered in a pointed white hat and gown carrying the cross, followed by those carrying poles with the various symbols of Christ's crucifixion (hammer, nails, sponge, spear, pincers, cup, whip, etc), next a statue of Jesus lying on a coffin platform covered in a white gauze carried by pallbearers, then the priests and their entourage, then those carrying the crown of thorns and a regal crown, a statue of Mary covered in black with a black lace veil, the Honorable Society of Mary, (about 15 women dressed like Mary in black with long black lace veils, then a band"
"Madonna of the Dry Tree Madonna of the Dry Tree (or Our Lady of the Barren Tree) is a small oil-on-oak panel painting, dated c. 1462–1465, by Early Netherlandish painter Petrus Christus. Unusually innovative and dramatic for its time, it depicts the Virgin Mary holding the Christ Child as she stands on a disembodied dead tree trunk, surrounded by the circular briars of a crown of thorns. The painting is believed to allude to the Book of Ezekiel, with the tree symbolizing the Tree of Knowledge from the Garden of Eden. However, Christus portrays the tree as dead and withered,"
"common artistic representations of a sorrowful Virgin Mary, the other two being ""Mater Dolorosa"" (Mother of Sorrows) and ""Pietà"". In the Stabat Mater depictions the Virgin Mary is represented as an actor and spectator in the scene, a mystical emblem of faith in the Crucified Savior, an ideal figure at once the mother of Christ and the personified Church. The depictions generally reflect the first three lines of the Stabat Mater poem: The concept is also present in other designs, e.g. the Miraculous Medal and the more general Marian Cross. The Miraculous Medal, by Saint Catherine Labouré in the 19th"
"Crucifixion (Titian) The Crucifixion is a life sized painting by the Venetian artist Titian, completed in 1558 and presently hanging in the sanctuary of the church of San Domenico, Ancona. Jesus Christ is shown crucified, with Saint Mary and Saint John standing either side of the cross in the ""Stabat Mater"" tradition. The kneeling figure is of Saint Dominic. The canvas was completed during Titian’s fifth decade of painting, and is one of the works marking a shift toward his extensive exploration of tragedy and human suffering. The heads of the standing figures are presented in an upturned triangle arrangement"
"Madonna in the Church Madonna in the Church (or The Virgin in the Church) is a small oil panel by the early Netherlandish painter Jan van Eyck. Probably executed between c. 1438–40, it depicts the Virgin Mary holding the Child Jesus in a Gothic cathedral. Mary is presented as Queen of Heaven wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the hem of her red dress in a manner that recalls the 13th-century Byzantine tradition of the Eleusa icon (""Virgin of Tenderness""). Tracery in the arch at the rear of the nave contains"
"at times been compared to concurrent trends in sculpture, especially by Claus Sluter. Christ's body is raised, perhaps awkwardly, on a shroud above the top slab of the sarcophagus. In this way the tomb is positioned, as described by art historian Shirley Blum, ""the altar supporting Body and Blood of the dead Christ"". According to Barbara Lane becomes ""both the celebrant and the sacrifice of the constantly repeated Mass"". The mourners gather around the tomb in a semi-circle, looking sorrowfully towards Jesus as he is wrapped in his burial shroud. They include Mary, Joseph of Arimathea (With a brown beard,"
"Epitaphios (liturgical) The Epitaphios (Greek: Ἐπιτάφιος, ""epitáphios"", or Ἐπιτάφιον, ""epitáphion""; Slavonic: Плащаница, ""plashchanitsa""; Arabic: نعش, ""naash"") is a Christian religious icon, typically consisting of a large, embroidered and often richly adorned cloth, bearing an image of the dead body of Christ, often accompanied by his mother and other figures, following the Gospel account. It is used during the liturgical services of Good Friday and Holy Saturday in the Eastern Orthodox Churches, as well as those Eastern Catholic Churches, which follow the Byzantine Rite. It also exists in painted or mosaic form, on wall or panel. The Epitaphios is also a"
"is placed in the Gospels. A non-scriptural subject of Christ taking leave of his Mother (before going to Jerusalem at the start of his Passion) was often painted in 15th- and early 16th-century Germany. Mary is placed at the Crucifixion of Jesus by the Gospels, and is almost invariably shown, with Saint John the Evangelist, in fully depicted works, as well as often being shown in the background of earlier scenes of the Passion of Christ. The rood cross common in medieval Western churches had statues of Mary and John flanking a central crucifix. Mary is shown as present at"
"Christ Bearing the Soul of the Virgin Christ Bearing the Soul of the Virgin is a tempera on panel painting measuring 27.5 by 17.5 cm by Andrea Mantegna. It was completed around 1462 and is now in the Pinacoteca Nazionale in Ferrara. It shows Christ in an almond-shaped cloud bearing the soul of the Virgin Mary straight to heaven after her death, accompanied by cherubs - the soul is represented by a statuette, rather than the more usual symbol of a child. Roberto Longhi was the first to identify it as a fragment of the upper register of ""Death of"
"Christ increased in complexity towards the end of the first millennium, a number of scenes were developed covering the period between the death of Jesus on the Cross and his being placed in his tomb. The accounts in the Canonical Gospels concentrate on the roles of Joseph of Arimathea and Nicodemus, but specifically mention Mary and Mary Magdalene as present. Scenes showing Joseph negotiating with Pontius Pilate for permission to take Christ's body are rare in art. The Deposition of Christ, where the body is being taken down from the cross, shown almost always in a vertical or diagonal position"
"an emotional appeal that links it to the Strasbourg ""Death of the Virgin"". In this sculpture, Mary is shown standing, holding her son, Jesus Christ, against her body. Unlike previous renditions of this couple, both are naturalistic, with recognizable facial features. As usual in most religious sculptural depictions of the Holy mother and child of this time, Jesus does not look like a baby, but rather a miniature adult. However, the artist tried to combat this by giving the child the mannerisms of an infant as he plays with his mother’s veil and holds a ball. Mary stands in royal"
"collection of Morsink Icon Gallery, Amsterdam till 2016 and then was purchased by a private collector from the Netherlands. Madre della Consolazione The Madre della Consolazione (Crete) is an icon depicting the Virgin Mary holding baby Christ. It is believed to have originated during the mid-fifteenth century by Nikolaos Tzafouris. The iconography of the Madre della Consolazione type is of Western origin. It has clearly been influenced by Italian prototypes from the 14th century. The icon’s Italian title refers to the suffering of Christ, as anticipated by his mother. The type was probably introduced to the Orthodox-Christian world by the"
"Death of the Virgin (Anonymous) The Death of the Virgin acquired in 1944 by the Legion of Honor Art Museum in San Francisco is an oil painting on a panel created sometime in the late fifteenth century in Swabia, Germany by an unknown artist, portraying the Virgin Mary surrounded by the twelve apostles. The subject has been painted by several other anonymous masters of the Death of the Virgin. The painting contains many key religious figures, as religious works were the most popular during the Middle Ages. Religious paintings would often be done as works of patronage to a church,"
"Pietà (Gregorio Fernández) The Pietà or Sexta Angustia (1616 - 1619) is a work of Baroque sculpture by Gregorio Fernández, housed in the National Museum of Sculpture in Valladolid, Spain. The statue was commissioned by the Illustrious Penitential Brotherhood of Our Lady of Anguish. It is one of the best known of the five sculptures of the same theme by the artist. The sculpture shows the Virgin Mary holding up one hand with Christ's body slumped lifeless to the floor, by her feet. It was part of a ""paso"" which paraded in religious processions during Holly Week, together with the"
"Deposition of Christ (Fra Angelico) The Deposition from the Cross is a painting of the Deposition of Christ by the Italian Renaissance master Fra Angelico, executed between 1432 and 1434. It is now housed in the National Museum of San Marco, Florence. Giorgio Vasari defined it to have been “painted by a saint or an angel”. Angelico intervened to complete this altarpiece when it had been already begun by Lorenzo Monaco for the Strozzi Chapel in the Florentine church of Santa Trinita. It portrays Christ supported by several people, with Mary Magdalene keeping his feet, as a symbol of human"