Which 20th century artist's works include 'Christ Of St. John Of The Cross' and 'Metamorphosis Of Narcissus'?
"Metamorphosis of Narcissus Metamorphosis of Narcissus (1937) is an oil-on-canvas painting by the Spanish surrealist Salvador Dalí. This painting is from Dalí's paranoiac-critical period. According to Greek mythology, Narcissus fell in love with his own reflection in a pool. Unable to embrace the watery image, he pined away, and the gods immortalized him as a flower. Dalí completed this painting in 1937 on his long-awaited return to Paris after having had great success in the United States. The painting shows Narcissus sitting in a pool, gazing down. Not far away there is a decaying stone figure which corresponds closely to"
"and 1963. The paintings on the nave are the works of Elena Virginia Costantinescu: The Madonna seen by evangelist Luke, Madonna seen by evangelist St. John, Maria Magdalene; and works of R. Merussi: Annunciation, Last Supper, Burial and Resurrection of the Lord. Two alternatives Ways of the Cross (2000): one is a work of Carlo Sismonda, painter and musician (2000), the other a copy of G. Vicentini. Baptismal font: The Baptism of Christ (1960-1962), work of Gregor Sciltian (1900-1985) that testifies as exemplary expression of his magical realism. Also the monochrome of the angels tends to bring the viewer gradually"
"Saint John of the Cross"" to an episode of the BBC documentary series, ""The Private Life of a Masterpiece"", which analysed the painting in 2005. Examples of the artist's work can be seen in most major public and private collections in the British Isles, and in the National Galleries of Ireland, Canada, Poland and Australia, and the Tate Gallery in Britain among many other national collections. He is strongly represented in the corporate collections in the UK and Ireland, including BNP Paribas and British Petroleum Plc. William Crozier's work features in all current reference works on 20th century Irish and"
"Transfiguration (Raphael) The Transfiguration is the last painting by the Italian High Renaissance master Raphael. Commissioned by Cardinal Giulio de Medici, the later Pope Clement VII (1523–1534) and conceived as an altarpiece for the Narbonne Cathedral in France, Raphael worked on it until his death in 1520. The painting exemplifies Raphael's development as an artist and the culmination of his career. Unusually for a depiction of the Transfiguration of Jesus in Christian art, the subject is combined with an additional episode from the Gospels in the lower part of the painting. ""The Transfiguration"" stands as an allegory of the transformative"
"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,"
"reflection. He continued to look at his reflection until he died. A ""narcissus"" flower grew on the spot where he died. The painting is in oil on canvas and measures by . It forms part of the Victorian collection in the Walker Art Gallery in Liverpool, Merseyside, England, having been purchased by the museum in 1903. Echo and Narcissus (Waterhouse painting) Echo and Narcissus is a painting by John William Waterhouse, dating from 1903. It illustrates the poem ""Echo and Narcissus"" from Ovid's ""Metamorphoses"". John William Waterhouse (1847–1917) was an English painter who, because of his style and themes, has"
"The Deposition from the Cross (Pontormo) The Deposition from the Cross is an altarpiece, completed in 1528, depicting the Deposition of Christ by the Italian Renaissance painter Jacopo Pontormo. It is broadly considered to be the artist's surviving masterpiece. Painted in oil on wood, the painting is located above the altar of the Capponi Chapel of the church of Santa Felicita in Florence. This painting suggests a whirling dance of the grief-stricken. They inhabit a flattened space, comprising a sculptural congregation of brightly demarcated colors. The vortex of the composition droops down towards the limp body of Jesus off center"
"Crucifixion Diptych (van der Weyden) Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, today in the Philadelphia Museum of Art. The panels are noted for their technical skill, visceral impact and for possessing a physicality and directness unusual for Netherlandish art of the time. The Philadelphia Museum of Art describes work as the ""greatest Old Master painting in the Museum."""
"other Crucifixion paintings have been attributed to van der Weyden: Crucifixion Diptych (van der Weyden) Crucifixion Diptych — also known as Philadelphia Diptych, Calvary Diptych, Christ on the Cross with the Virgin and St. John, or The Crucifixion with the Virgin and Saint John the Evangelist Mourning — is a diptych by the Early Netherlandish artist Rogier van der Weyden, completed c. 1460, today in the Philadelphia Museum of Art. The panels are noted for their technical skill, visceral impact and for possessing a physicality and directness unusual for Netherlandish art of the time. The Philadelphia Museum of Art describes"
"Head of Christ The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth by American artist Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, it had been reproduced over half a billion times worldwide by the end of the 20th century. Enlarged copies of the work have been made for churches, and small pocket or wallet-sized prayer cards bearing the image have been mass-produced for private devotional use. The painting is said to have ""become the basis for [the] visualization of Jesus"" for ""hundreds of millions"" of"
"the Thirties. As with the earlier ""Metamorphosis of Narcissus"", ""Swans Reflecting Elephants"" uses the reflection in a lake to create the double image seen in the painting. In ""Metamorphosis"", the reflection of Narcissus is used to mirror the shape of the hand on the right of the picture. Here, the three swans in front of bleak, leafless trees are reflected in the lake so that the swans' necks become the elephants' trunks, the swans' bodies become the elephants' ears, and the trees become the legs of the elephants. In the background of the painting is a Catalan landscape depicted in"
"same sculptor Marco Corradini, is the author of the Stations of the Cross. The large statue of the risen Christ, located above the baptismal font, was originally located at the center of the apse, where it is now instead of the large crucifix. The painting of Saint Charles can be dated roughly between the late eighteenth and early nineteenth century. The analysis of the paintings of San Carlo and the Sacred Heart was conducted by Elena Sangalli. San Carlo is depicted half-length in traditional cardinal's robes, in an attitude of prayer in front of a small crucifix. The representation of"
"Christ on the Cross with the Virgin and Saint John Christ on the Cross with the Virgin and Saint John is an oil on panel painting, later transferred to canvas, attributed to the Master of the Grimacing St John, a senior member of the workshop of Jan van Eyck. It was long attributed to Jan's brother Hubert, based on stylistic similarities to portions of the ""Adoration of the lamb"" passage in the ""Ghent Altarpiece"". The Master of the Grimacing St John is one of only two assistant of van Eyck's whose hand can be identified across several works. He takes"
"version, in general, is an accurate copy of the first. The most obvious deviation is the darker, more subdued color. Much of the brilliant blue has been substituted with a drab brown. Toning down the Mannerist lavishness of the original is consistent with the sobriety of the Counter-Reformation and may reflect Eleonora's sensibilities. Deposition of Christ (Bronzino) The Deposition of Christ is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, completed in 1545. It is housed in the Musée des Beaux-Arts de Besançon, France. A copy by Bronzino can be found in the Palazzo Vecchio. This"
"these by extensive travels in the Middle East to study details of contemporary life, which he used in the paintings. Prints were also published of the compositions. The whole watercolor series, completed between 1886-1894, was acquired in 1900 by the Brooklyn Museum in New York. Crucifixion, seen from the Cross The Crucifixion, seen from the Cross is a c. 1890 watercolor painting by the French painter James Tissot. The work is unusual for its portrayal of the site, the women witnesses, and bystanders from the perspective of Jesus on the cross, rather than featuring Him as the center of the"
"The Descent from the Cross (van der Weyden) The Descent from the Cross (or Deposition of Christ, or Descent of Christ from the Cross) is a panel painting by the Flemish artist Rogier van der Weyden created c. 1435, now in the Museo del Prado, Madrid. The crucified Christ is lowered from the cross, his lifeless body held by Joseph of Arimathea and Nicodemus. The c. 1435 date is estimated based on the work's style, and because the artist acquired wealth and renown around this time, most likely from the prestige this work allowed him. It was painted early in"
"Icarus"" and Gian Lorenzo Bernini's sculpture ""Apollo and Daphne"". The ""Metamorphoses"" also permeated the theory of art during the Renaissance and the Baroque style, with its idea of transformation and the relation of the myths of Pygmalion and Narcissus to the role of the artist. Though Ovid was popular for many centuries, interest in his work began to wane after the Renaissance, and his influence on 19th-century writers was minimal. Towards the end of the 20th century his work began to be appreciated once more. Ted Hughes collected together and retold twenty-four passages from the ""Metamorphoses"" in his ""Tales from"
"in the National Gallery, London in 2017, in the same room as a cast of the second version, drawings for it, and letter relating to it. Risen Christ (Michelangelo, Santa Maria sopra Minerva) The Risen Christ, ""Cristo della Minerva"" in Italian, also known as ""Christ the Redeemer"" or ""Christ Carrying the Cross"", is a marble sculpture by the Italy High Renaissance master Michelangelo, finished in 1521. It is in the church of Santa Maria sopra Minerva in Rome, to the left of the main altar. The work was commissioned in June 1514, by the Roman patrician Metello Vari, who stipulated"
"six months of illness. Francesco Bissolo Francesco Bissolo (1470-72 - 20 April 1554) was a Venetian painter of the Renaissance. He is also known as Pier Francesco Bissolo. He is described as a pupil of Giovanni Bellini. He painted a ""Christ exchanging crown of thorns for crown of gold with St. Catherine"" for the church of il Redentore, now at the Gallerie dell'Accademia in Venice, and a ""Santa Giustina"" in Treviso cathedral. He painted a ""Holy Family with donor in landscape"" found at the Dayton Art Institute in Ohio, United States. He died in the ""contrada"" of S. Marciliano on"
"is in the arch above the main doors to the church. Buchanan was also commissioned to recreated the San Damiano Cross for the Chapel of the Blessed Mother Teresa at St. Jude. Seattle artist Cody Harrington was commissioned to create 14 original works of art for the sanctuary known as the Stations of the Cross, or Via Dolorosa. The photo-realistic, pencil sketches were inspired by the 2004 Mel Gibson film, ""The Passion of the Christ"". The stained glass in the flying roof and transepts are by Cavallini of San Antonio, Texas. The wood carved statues and crucifix are by Ferdinando"
"to implore their mercy. According to art historian John Shearman this kind of depiction is a typical example of a ""transitive work"", i.e. a work that requires the emotional participation of the viewer and that can only be completed through being in the physical presence of the image. Head of Christ (Correggio) Head of Christ is a painting in oil on panel by the Italian Renaissance painter Correggio, dated 1521. It depicts the head of Christ, wearing the crown of thorns. In the background there is a white cloth showing that the image represents the Veil of Veronica, but Christ's"
"The Baptism of Christ (Piero della Francesca) The Baptism of Christ is a painting by the Italian Renaissance master Piero della Francesca, finished around 1448–50. It is housed in the National Gallery, London. The panel was commissioned presumably some time about 1440 by the Camaldolese Monastery of Sansepolcro in Tuscany, originally part of a triptych. Its dating to Piero della Francesca's early career is evidenced by the strong relationship with the ""light painting"" of his master, Domenico Veneziano. It portrays Christ being baptised by John, his head surmounted by a dove representing the Holy Spirit. Christ, John's hand, the bird"
"The Vision of the Cross The Vision of the Cross is a painting made between 1520 and 1524 by assistants of the Italian renaissance artist Raphael. After the master's death in 1520, Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle from Raphael's workshop worked together to finish the commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. ""The Vision of the Cross"" is located in the ""Sala di Costantino"" (""Hall of Constantine""). In the painting, emperor Constantine I is seen just before the Battle of the"
"his notname from an imitation stone statue in a grisaille diptych wing panel of St. John the Baptist, opposite a ""Virgin and Child"", and is associated with a pen and pencil drawing of St Paul in Vienna. The Master of the Grimacing St John's panel has been in the Gemäldegalerie, Berlin since 1897. Christ on the Cross with the Virgin and Saint John Christ on the Cross with the Virgin and Saint John is an oil on panel painting, later transferred to canvas, attributed to the Master of the Grimacing St John, a senior member of the workshop of Jan"
"tradition. Christ's static pose is reflective of this style, while the work overall incorporates newer, more naturalistic aspects. The work presents a lifelike and physically imposing depiction of the passion at Calvary. Christ is shown nearly naked: his eyes are closed, his face lifeless and defeated. His body slumps in a position contorted by prolonged agony. A graphic portrayal of human suffering, the painting is of seminal importance in art history and has influenced painters from Michelangelo, Caravaggio and Velázquez to Francis Bacon. The work has been in the Basilica di Santa Croce in Florence since the late thirteenth century,"
"painting was revealed to him. The painting is known as the ""Christ of Saint John of the Cross"", because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head). The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The circle represents Unity: all things do exist in the ""three"" but in"
"of ""St Dominic defeats the Albigensian Heretics"" by Giacomo del Po: the statues are by Columbo Napolitano. In the first chapel, all the paintings dedicated to ""St Catherine of Alessandria"" are by Giacomo del Po, the ""Visitation"" was painted by Garzi. In the next chapel, the chapel of St James, are collected the remains of 240 Martyrs of Otranto, that Alfonso II of Aragon had moved to Naples in 1574. The canvas of the ""Epiphany"" was painted by Silvestro Buono, and the ""Circumcision"" was completed by Paolo de Matteis. The ""Conversion of St. Paul"" was painted by Marco da Siena."
"The Baptism of Christ (David) The Baptism of Christ or the Jan des Trompes Triptych is an altarpiece painted between 1502 and 1508 by the Flemish painter Gerard David. It is now held by the Groeningemuseum in Bruges. Its central panel is 127.9 cm high by 96.6 cm wide and shows Christ's baptism in the Jordan, with an angel holding Christ's clothing and God the Father and the Holy Spirit in the form of a dove above Christ. In the background is a landscape with scenes from the life of John the Baptist, whilst the foreground is filled with herbs"
"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"
"repention. A figure on the right, with a red hat, is showing the cross' nails and the horns crown, symbols of passion and sacrifice. Mary, wearing a dark dress, is shown in the traditional gesture of keeping hands joined. 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"
"they frame the painting of the side altar. The Descent from the Cross was painted by György Révész, approximately in 1870. He copied the composition of Rembrandt's 1634 master piece. The prothesis is ornated with typical Jankovits motifs. The gilded festoons, rose heads and acanthus leaves appear on the iconostasis and on other furniture too. The prothesis was over-painted with white oil paint during the Latinizing 1937 renovations. It was restored in 2005. The iconostasis is undoubtedly the most characteristic part of an Eastern Catholic church interior. The wall of icons is traditionally erected between the altar and the nave."
"The Descent from the Cross (Rubens, 1600–1602) Descent from the Cross is a painting by Peter Paul Rubens in 1600–1602 as his first major commissional work made for the private chapel of Eleonora de’ Medici Gonzaga (1567–1611), duchess of Mantua. The discoverer of the painting was the art historian Prof. Justus Müller-Hofstede. His special subject is the early Rubens. The large-sized altarpiece revolutionizes the usual illustrations of Jesus' Descent from the Cross of the Cinquecento and engrosses the idea of the holy Eucharist: The kneeling lady in the foreground as a symbolic embodiment of the duchess who receives the Body"
"Narcissus (Caravaggio) Narcissus is a painting by the Italian Baroque master Caravaggio, painted circa 1597–1599. It is housed in the Galleria Nazionale d'Arte Antica in Rome. The painting was originally attributed to Caravaggio by Roberto Longhi in 1916. This is one of only two known Caravaggios on a theme from Classical mythology, although this is due more to the accidents of survival than the artist's oeuvre. Narcissus, according to told the poet Ovid in his ""Metamorphoses"", is a handsome youth who falls in love with his own reflection. Unable to tear himself away, he dies of his passion, and even"