"The Light of the World (painting) The Light of the World (1851–53) is an allegorical painting by the English Pre-Raphaelite artist William Holman Hunt (1827–1910) representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20: ""Behold, I stand at the door and knock; if any man hear My voice, and open the door, I will come in to him, and will sup with him, and he with Me"". According to Hunt: ""I painted the picture with what I thought, unworthy though I was, to be by Divine command, and not simply as a"
"famous images of the Revelation, and is the subject of the famous painting ""The Light of the World"" by Holman Hunt. It bears similarities to a saying of Jesus in Mark 13:33–37, and Luke 12:35–38. The door in the painting has no handle, and can therefore be opened only from the inside. Commentators variously view it as a metaphor of intimate fellowship, and/or a reference to the eschatological parousia of Christ. The theme of divine invitations to eat are found both in the New Testament (e.g., the Parable of the Wedding Feast) and in Graeco-Roman religion. Various papyri, such as"
"The Light of the World (Boucher) The Light of the World is a 1750 oil on canvas painting by François Boucher, now in the Musée des beaux-arts de Lyon. It was Madame de Pompadour's first commission from the artist and his first large-format religious work - he only produced a total of five of the latter. It was initially called ""The Adoration of the Shepherds"". It was exhibited at the Paris Salon in 1750 and won him the commission to paint a room at the Louvre as well as the post of first painter to the king. The painting was"
"Southern Hemisphere. <BR> Resurrection of Christ (Raphael) The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502. It is probably a piece of an unknown predella, though it has been suggested that the painting could be one of the remaining works of the Baronci altarpiece, Raphael's first recorded commission (seriously damaged by an earthquake in 1789, fragments of which are today"
"Christ in the House of His Parents Christ in the House of His Parents (1849–50) is a painting by John Everett Millais depicting the Holy Family in Saint Joseph's carpentry workshop. The painting was extremely controversial when first exhibited, prompting many negative reviews, most notably one written by Charles Dickens. It catapulted the previously obscure Pre-Raphaelite Brotherhood to notoriety and was a major contributor to the debate about Realism in the arts. It is currently housed in the Tate Britain in London. The painting depicts the young Jesus assisting Joseph in his workshop. Joseph is making a door, which is"
"The Raising of Lazarus (Rembrandt) The Raising of Lazarus is an oil-on-panel painting by the Dutch artist Rembrandt from early in his career; it was probably painted between 1630 and 1632. The work depicts the Raising of Lazarus as told in the Gospel of John, Chapter 11. It is in the collection of the Los Angeles County Museum of Art. The painting shows the moment Lazarus re-awakens from death and rises from his tomb as Christ calls him. Lazarus is in the darker half of the painting while the figures at left are far more illuminated than he. Mary and"
"Resurrection of Christ (Raphael) The Resurrection of Christ (1499–1502), also called The Kinnaird Resurrection (after a former owner of the painting, Lord Kinnaird), is an oil painting on wood by the Italian High Renaissance master Raphael. The work is one of the earliest known paintings by the artist, executed between 1499 and 1502. It is probably a piece of an unknown predella, though it has been suggested that the painting could be one of the remaining works of the Baronci altarpiece, Raphael's first recorded commission (seriously damaged by an earthquake in 1789, fragments of which are today found in museums"
"fellow Pre-Raphaelite James Collinson (1825-1881). Rossetti wrote two sonnets to explain the painting's symbolism - the first was engraved at the bottom of the original frame, whilst the second was printed in the Free Exhibition catalogue. A crossed palm branch on the floor refers to Palm Sunday and Good Friday and the pale roses and thorn-shaped branches on the wall to Christ's passion and Mary's seven joys and seven sorrows. The oil lamp symbolises piety, three of the books are in colours symbolising the three cardinal virtues and the rose is another symbol of Mary (the 'rose without a thorn')."
"The Shadow of Death The Shadow of Death is a religious painting by William Holman Hunt, on which he worked from 1870 to 1873, during his second trip to the Holy Land. It depicts Jesus as a young man prior to his ministry, working as a carpenter. He is shown stretching his arms after sawing wood. The shadow of his outstretched arms falls on a wooden spar on which carpentry tools hang, creating a ""shadow of death"" prefiguring the crucifixion. His mother Mary is depicted from behind, gazing up at the shadow, having been looking into a box in which"
"by Jovan Popović, a Serbian Baroque artist, as recorded in a contract from 7 June 1761. The numbers ""1761"" are also written on the icon depicting the Temptation of Christ. The two side doors in the iconostasis, called the Deacon's Doors, are for those who help in the liturgy. The left (northern) door depicts Moses, and the right (southern) door shows his brother, Aaron. Above Moses, there is a depiction of Melchizedek's sacrifice; above Aaron is a depiction of Abraham's sacrifice. At the center is the King's Door, used by the priests. At the top, Gabriel is shown with a"
"lily in his hands, next to the Virgin Mary. This is a depiction of the Annunciation, in which Gabriel informed Mary that she would give birth to Jesus. Below are the Four Evangelists: Matthew with an angel, John with a hawk, Luke with a bull and Mark with a lion. A snake, symbolizing the bronze snake from the Bible, is depicted climbing up the door. Above the door, an eye in a triangle represents the eye of God. To the right (south) of the King's Door is an icon of Jesus Christ, and to the left is one of the"
"The Light of the World (Sullivan) The Light of the World is an oratorio composed in 1873 by Arthur Sullivan. Sullivan wrote the libretto with the assistance of George Grove, based on the New Testament. The story of the oratorio narrates the whole life of Christ, focusing on his deeds on Earth as preacher, healer and prophet. The oratorio was inspired by William Holman Hunt's popular 1853–54 painting, ""The Light of the World"". The work was first performed at the Birmingham Festival on 27 August 1873 and was the composer's second oratorio, the first being ""The Prodigal Son"" (1869). Historian"
"growing flora is closely comparable to Collinson's early Pre-Raphaelite work, and differs from his other paintings from this period. The Holy Family (Collinson painting) The Holy Family is an oil painting on canvas of the Holy Family by the Pre-Raphaelite artist James Collinson. The painting dates from 1878 when the artist was living in Brittany. The town in the background may be Saint-Malo. The scene is of Jesus as an infant, with his earthly father Joseph and mother Mary. The specific scene does not appear in the Biblical Gospels, but it has many precedents in Renaissance art. The dove typically"
"upper left of the frame, a vista to a moonlit landscape reveals on closer inspection to be a scene of the Annunciation to the shepherds with Gabriel as the moon and three shepherds in a field. The same three shepherds stand behind a fence on the right side of the painting looking at the Holy Family. The painting was painted around the time when Martin Luther first spoke out about the light of the Gospels and used the candle as a metaphor for revelation. In his work translating the bible and spreading his message, he hired Cranach to make illustrations"
"GABRIEL ORDONNE A STE ANNE DE SE RENDRE A LA PORTE DOREE ; NAISSANCE DE MARIE"". The window depicts six scenes from the lives of sainte Anne and saint Joseph, the parents of Jesus. The window dates to 1891 and was the work of Hucher fils (Fabrique du Carmel du Mans). The six scenes depicted are the Angel Gabriel ordering Joseph to go to the golden gate, Joseph meeting Anne at the golden gate, the Virgin Mary being presented at the temple, the Grand Priest refusing the gifts of Joseph and Anne, the Angel Gabriel ordering Anne to go to"
"be identified as Saint Peter. In the Bible, Peter is one of the first disciples that Jesus calls upon. In the Book of Matthew, Jesus said to Peter, “And I tell you that you are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it. I will give you the keys of the kingdom of heaven; whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven."" El Greco included the keys of heaven in this painting, as seen in the"
"Triumphal entry into Jerusalem (see illustration), the Last Supper, the Washing of the Feet, the Agony in the Garden, the Betrayal of Judas, the Crucifixion of Jesus, the Descent from the Cross, the Lamentation, the Harrowing of Hell, the Three Marys at the Tomb, and the Deesis. These illustrations were made by an illuminator named Basilius, who signed the last illustration (pictured above) ""Basilius me fecit"", and is the only named illuminator or scribe of this manuscript. Nothing is known about Basilius, but because of his Greek name it has been suggested that he was a Byzantine artist; it is"
"which gives the painting its name and in the 16th century was interpreted as a presage. The monumental pulpit is the work of Burchard Precht in 1698-1702 and is in a French Baroque style. It became the model for a number of other large pulpits in Sweden. From the rear of its lofty sounding board issues widely billowing dragery, in front of which hover two large winged genii on either side of a radiant sun bearing the Hebrew letters יהוה. The relief on the front of the pulpit itself depicts the story of the Canaanite woman (Matthew 15:21-28). The door"
"The Four and Twenty Elders Casting their Crowns before the Divine Throne The Four and Twenty Elders Casting their Crowns before the Divine Throne is a pencil drawing and watercolour on paper by the English poet, painter and printmaker William Blake. Created circa 1803–1805, the drawing has been held in London's Tate gallery since 1949. It is likely a visionary and hallucinatory summary of scenes from Chapters 4 and 5 of the Book of Revelation when the throne of God was presented to the prophet Saint John the Divine. Saint John described the scene, Blake's depiction was created as part"
"Christ at the Column (Caravaggio) Christ at the Column (also known as ""The Flagellation of Christ""; c. 1606/1607), is a painting by the Italian Baroque painter Caravaggio, currently housed in the Musée des Beaux-Arts de Rouen, Rouen, France. This is one of two versions of the Flagellation of Christ by Caravaggio painted late in 1606 or early in 1607, soon after his arrival in Naples. The painting shows the flagellation of Christ following his arrest and trial and before his crucifixion. The scene was traditionally depicted in front of a column, possibly alluding to the judgement hall of Pilate. The"
"from a satyr play by Sophocles, ""Pandora, or The Hammerers"", of which only fragments remain. But there have also been alternative interpretations of such scenes. In a late Pre-Raphaelite painting by John D. Batten, hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of “Pandora”. There were also earlier English paintings of the newly created Pandora as surrounded by the heavenly gods presenting gifts, a scene also depicted on ancient Greek pottery. In one case it was part of a decorative scheme painted on the ceiling at Petworth House by Louis"
"world. The figure in Scottish art most associated with the Pre-Raphaelites was the Aberdeen-born William Dyce (1806–64). He met the Nazarenes while in Italy and his work moved towards their ""early Christian"" art, as can be seen in his ""Madonna and Child"" (1848). Dyce befriended the young Pre-Raphaelites in London and introduced their work to John Ruskin. His later work was Pre-Raphaelite in its spirituality, as can be seen in his ""The Man of Sorrows"" and ""David in the Wilderness"" (both 1860). His ""Pegwell Bay: a Recollection of October 5th 1858"" has been described as ""the archetypal pre-Raphaelite landscape"". Joseph"
"The Parnassus The Parnassus is a fresco painting by the Italian High Renaissance artist Raphael in the Raphael Rooms (""""Stanze di Raffaello""""), in the Palace of the Vatican in Rome, painted at the commission of Pope Julius II. It was probably the second wall of the ""Stanza della Segnatura"" to be painted between 1509 and 1511, after ""La Disputa"" and before ""The School of Athens"", which occupy other walls of the room. The whole room shows the four areas of human knowledge: philosophy, religion, poetry and law, with ""The Parnassus"" representing poetry. The fresco shows the mythological Mount Parnassus where"
"which support the vault; however, Michelangelo demanded a free hand in the pictorial content of the scheme. He painted a series of nine pictures showing ""God's Creation of the World"", ""God's Relationship with Mankind"", and ""Mankind's Fall from God's Grace"". On the large pendentives he painted twelve Biblical and Classical men and women who prophesied that God would send Jesus Christ for the salvation of mankind, and around the upper parts of the windows, the ""Ancestors of Christ"". In 1515, Raphael was commissioned by Pope Leo X to design a series of ten tapestries to hang around the lower tier"
"on Regent Street. Francis McCracken, a well known Pre-Raphaelite patron, bought it in 1853 for £50 and the Tate Gallery purchased it in 1886. In February 2013 it was not on display. Ecce Ancilla Domini Ecce Ancilla Domini (Latin: ""Behold the handmaiden of the Lord""), or The Annunciation, is an oil painting by the English artist Dante Gabriel Rossetti, first painted in 1850 and now in Tate Britain in London. The Latin title is a quotation from the Vulgate text of the first chapter of the Gospel of Saint Luke, describing the Annunciation, where Mary accepts the message brought to"
"Annunciation (Leonardo) Annunciation is a painting by the Italian Renaissance artists Leonardo da Vinci and Andrea del Verrocchio, dating from circa 1472–1475. It is housed in the Uffizi gallery of Florence, Italy. The subject matter is drawn from Luke 1.26-39 and depicts the angel Gabriel, sent by God to announce to a virgin, Mary, that she would miraculously conceive and give birth to a son, to be named Jesus, and to be called ""the Son of God"" whose reign would never end. The subject was very popular for artworks and had been depicted many times in the art of Florence,"
"with financial assistance from the National Art Collections Fund. <br> The Four and Twenty Elders Casting their Crowns before the Divine Throne The Four and Twenty Elders Casting their Crowns before the Divine Throne is a pencil drawing and watercolour on paper by the English poet, painter and printmaker William Blake. Created circa 1803–1805, the drawing has been held in London's Tate gallery since 1949. It is likely a visionary and hallucinatory summary of scenes from Chapters 4 and 5 of the Book of Revelation when the throne of God was presented to the prophet Saint John the Divine. Saint"
"Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis Light and Colour (Goethe's Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis is an oil painting by the English painter Joseph Mallord William Turner (c.1775–1851), first exhibited in 1843. Displayed during the latter years of J.M.W. Turners career, this painting depicts a deluge scene where the natural effects of light and weather (the atmosphere) play a crucial role on Turner's concept of vision. The deluge being referred to in the title is the representation of the"
"John Everett Millais Sir John Everett Millais, 1st Baronet, (; 8 June 1829 – 13 August 1896) was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7). Millais became the most famous exponent of the style, his painting ""Christ in the House of His Parents"" (1850) generating considerable controversy, and painting perhaps the embodiment of the school, ""Ophelia"","
"adorn the walls of the Keble Cricket Pavilion inside the ground. Keble owns the original of William Holman Hunt's famous painting ""The Light of the World"", which is hung in the side chapel (accessed through the chapel). The picture was completed in 1853 after eight years of work, and originally hung in the Royal Academy. It was then given as a gift to the college. Hunt originally wanted the painting to be hung in the main chapel but the architect rejected this idea, as a result he painted another version of the painting which is in St Paul's Cathedral, London."
"locations. It was once featured in an oversize advertisement in the San Antonio International Airport. Mary Magdalene (Sandys) Mary Magdalene is a Pre-Raphaelite 1858-1860 painting by Frederick Sandys. Mary Magdalene was the only figure from the Bible that Sandys ever painted. Having sharp features reminiscent of Lizzie Siddal (though the model is unknown), Mary is depicted in front of a patterned forest-green damask. She holds an alabaster ointment cup, a traditional attribute which associates her with the unnamed sinful woman who anointed Jesus' feet in . Like other Pre-Raphaelite painters, Frederick Sandys gave Magdalene a sensual look. Dante Rossetti accused"
"Joseph the Carpenter Joseph the Carpenter is an oil painting by Georges de La Tour created circa 1645. The painting depicts a young Jesus with Saint Joseph, his earthly father. Joseph drills a piece of wood with an auger. The shape of the auger reflects the shape of the Cross and the geometry of the wood arrayed on the floor, set cross-wise to the seated child Christ, is a foreshadowing of the crucifixion. John Rupert Martin writes that Jesus' patience represents ""filial obedience and the acceptance of his destiny as martyr"". This painting, created around the year 1645 is one"
"of several tenebrist paintings by La Tour. Others include ""The Education of the Virgin"", the ""Penitent Magdalene"", and ""The Dream of St. Joseph"". In all these works, a single, strong light source is a central element, surrounded by cast shadows. In both ""Joseph the Carpenter"" and ""The Education of the Virgin"", the young Christ is represented, hand raised, as if in benediction, with the candlelight shining through the flesh as an allegorical reference to Christ as the ""Light of the World."" Joseph the Carpenter Joseph the Carpenter is an oil painting by Georges de La Tour created circa 1645. The"