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Posts Tagged ‘passion’

A view of the entryway, where the baptismal font will be placed.

Thanks to Allan Eckert for this image.

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The Crucifixion
by Albrecht Dürer (1471 – 1528)
Engraving, 1508
98 x 133 cm (3′ 2.58″ x 4′ 4.36″)
Private collection

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Christ Carrying the Cross
by Giovanni Battista Tiepolo (1696-1770)
Fresco, 1737-1738
517 x 450 cm (16′ 11.54″ x 14′ 9.17″)
Sant’Alvise (Venice, Italy)

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The Crowning with Thorns
From the movie The Passion of the Christ, 2004
by Mel Gibson (1956-)

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Flagellation de Notre Seigneur Jesus Christ/The Scourging of our Lord Jesus Christ
by William Bouguereau (1825-1905)
Oil on canvas, 1880
212 x 309 cm (6′ 11.46″ x 10′ 1.65″)
Cathedral of La Rochelle (La Rochelle, France)

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La Agonía en el Jardín (The Agony in the Garden)
by El Greco (Domenikos Theotocopoulos) (1541 – 1614)
Oil on canvas, c.1595
46″ wide x 41″ high
Toledo Museum of Art, Toledo, Ohio, USA

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46″ wide x 41″ high

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Le Saintes Femmes au Tombeau/The Holy Women at the Tomb
by William Bouguereau (1825-1905)
Oil on canvas, 1890
Private collection

Bouguereau: Le Saintes Femmes au Tombeau
[Mark 16:1-7] When the sabbath was over, Mary Magdalene, Mary, the mother of James, and Salome bought spices so that they might go and anoint him. Very early when the sun had risen, on the first day of the week, they came to the tomb. They were saying to one another, “Who will roll back the stone for us from the entrance to the tomb?” When they looked up, they saw that the stone had been rolled back; it was very large.

On entering the tomb they saw a young man sitting on the right side, clothed in a white robe, and they were utterly amazed. He said to them, “Do not be amazed! You seek Jesus of Nazareth, the crucified. He has been raised; he is not here. Behold the place where they laid him. But go and tell his disciples and Peter, ‘He is going before you to Galilee; there you will see him, as he told you.'”

About the Painting:

This picture, showing the three faithful women at the tomb of their crucified Master, Bouguereau finished in 1890, and exhibited that year at the Salon des Champs-Elysees.

Never,” says M. Maurice Albert, “was the artist more serious, more desperately impeccable. Who, then, would give himself the useless pain of trying to find, I do not say a fault, but a hint of hesitation in the drawing, the composition, the modeling of the “Holy Women at the Tomb “? What surety of hand and what serenity of soul! What a simply severe arrangement of figures, and what majestic impassibility! And yet,” he goes on to say, “that high and mighty door of masonic architecture would scarcely represent the opening to the little vault of Joseph of Arimathea, that funeral chamber which imagination aided by the archaeological discoveries and the descriptions of M. Renan shows as low and dark, cut under a projecting: rock. Nor, in the three women artistically grouped, who are such well-trained models, and whose discreet tears do not disfigure their calm and gracious modern faces, can one recognize the Galilean women, Mary Magdalene, Salome, and Mary Cleophas.”

Masters of Art, October 1906, Volume 7

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