Easter time is a great time. It is true that the public perception, they do not wash their holidays for Christmas, but there is no denying that they have within us the magic of an unusual charm. And like every Christmas is also characterized in that broadcasts with SMS wishes to heap a lot of my friends ;-) Usually, these requests are of the same text, but sometimes the pictorial. Today the very same picture requests will be made available to all readers (which I hope you enjoy it as much as me).
What characterizes these wishes? Usually, that I approach a topic of religious history indescribable by the Evangelists (what holiness is not to slander, and dogmas not to touch) and try to turn it in a comic joke. Yes, and this time, but instead create a picture of yourself, but this time I used an epoch-making work much more talented artists than me. On Photoshopowy "workshop" went so Giotto, Tintoretto and Caravaggio in their productions, scenes of passion. The scene in the Holy Thursday presented the last, so let's start from the history of the Easter Triduum.
"Capture of Christ" Caravaggio created in 1598, is known in two versions - one hanging at the National Gallery of Ireland in Dublin and the other (perhaps also by Caravaggio or copy warszatowej), which hung in a museum in Odessa, but a few years ago, thieves have decided to bypass the security of the institutions and I have no idea whether managed to find a picture ;-) But back to the theme of the scene, about which my friend is just finishing his Magisterka form. Kiss of Judas - to present a rather unusual, because rarely in the arts in general are illustrated by a kiss dawanego one by the other guy. Of course, tributes Lenne and other types of kisses that recognizes people as equals or during admission to the fraternity, is a kind of standard, but a kiss, in which there is no betrayal of its rich tradition of iconography. Caravaggio did not have to deal with problems, however, as artists of the first millennium of Christianity, who are often not fully able to show such scenes. Tradition became established fact that Jesus stands at the center, does not bother her Rapture, and one of the parties comes an issuing student.
Caravaggio, however, change the scene 180 degrees. In the center we have in Christ, but Judas, the bark is a measure of the picture, Jesus pushes towards the edge of the picture, indeed, makes him an unusual inclination to. Even more places are occupied by soldiers dressed in armor, turned back to the viewer, absolutely useless, and yet deliberately included in this way by the artist. Most, however, happens in the background, where one of the disciples (Jesus) actually falls into a panic and somehow "cries to heaven for vengeance." So far the most important part of image under this title, and so the game visual contact between the faces zdradzanego and traitors, to Caravaggio is no less important. Christ did not look into the eyes of Judas, does not confront him, but turns sight, aware that the prayer in Gethsemane is not dismissed from his cup. "It is finished" is so for Caravaggio, much earlier than the death of the Cross - the fate of Jesus, seems to suggest an artist, he was already a foregone conclusion at night from Thursday to Friday. This is a shining point of the second objective paintings, and so the folded hands. Passivity and submission to the will of the people ... - not what you would expect from the Savior, King of the earth and the heavens.
Jacopo Tintoretto Venetian artist created the scene in 1568 "Crucifixion" who hangs out in the church of San Cassiano in lying on the lagoon city. Large formats of this work (341 to 371 cm) make it attracts widespread attention of the faithful and the public, but only after close to it you can see the painter's mastery of style, suspended between the mannerism and the Baroque. It is well known that in the case of the image center of a larger batch of paintings by Tintoretto drew from engravings Dirck Volkertsz. Coornherta, of course, with the same title. However, it is to focus on an entirely different problem visually interesting, this is a solution space in this painting. Christ clearly dominates all the characters, and even using the division which took place mostly in medieval art the Christ, he is triumphant, and not boleściwym. Placed higher than him only a man who had just given him to affix a label with the summary indictment (well, today is such that it does not write ...), but which, however, less eye-catching color viewer. This is what chiaroscuro hanging on the crosses of male bodies is that what the viewer to focus. Jesus and the good thief are symbols of suffering, and one course in no way at fault, and the other understands their sins and make something like a short confession.
artist completed the whole (which, incidentally, is typical of Tintoretto), the specific horror of dark clouds and a kind of "freeze frame". It would seem that such an approach the scene, which at one time going to a lot of things described in the "Bible" is typical, but the Venetian solved it differently. We do not lamenting Mary, Mary Magdalene and hiding his face in his hands St. John. In return, the lower left corner of the image lies in the position of the Blessed Virgin, in which it presented during the creator of Piet. It is expected therefore no longer the death come to terms with it and surprisingly do not despair. The picture and introduces her (and the viewer as well) St. John, showing an unusual gesture, to make it live, but do not be afraid. This specific approach your hand and look somewhat beyond the Gospel accounts, stating that he senses what were the real meaning of words with three days of erecting a new temple in Jerusalem.
I've always been curious, how is it possible that Jesus took Mary Magdalene as a gardener. Well, I suspect that in these times when the field conditions we see in the Holy Land was not too highly paid profession, if you had to be on my feet a few hours after the end of one of the most important Jewish holidays. With this, however, connects to the scene, "Noli me tangere", showing the moment they leave the Holy Sepulchre of Christ and Mary Magdalene year. According to St. Jan (John 20:17) Jesus had to ask her: "Do not hold me, I have not yet ascended to the Father." The story of Giotto's fresco of the Capella famous Scrovegni (dell'Arena) in Padua (1304-1306), however, is more complicated. It is true that this unique artist (as your time reference to history, described by Vasari joked that this is what occurs when the shepherd can pencil) is closely based on the "Bible", it added a few unique elements. Jesus once again was placed on the side of the painting. This indicates, therefore, that this picture is in itself a kind of "comic book", and my only balloons to highlight. First, because the viewer draws attention to the left side, where he sees sitting smiling angels and the empty tomb, "guarded" by the sleeping soldiers. Kimają they are so hard that it failed to notice not only of the Resurrection, but even kneeling Mary Magdalene next to them. Such a reading of the image once again shows one of the angels, extending his hand and guided his finger towards the other celestial companion of Jesus.
It is this angel is most interesting here. Very often the scenes of "Noli me tangere" is in itself a load of emotional, intimate, more friendly relations between the characters than the usual presentation of the Resurrection, or showing up after students. Fans of Dan Brown probably would seek confirmation that some also contained in his books, but this is a rather common type of illustration of this scene. The angel sitting on grave issue also appears on the resulting painting around 1350, the Master of the Resurrection, which is located in the Vatican Pinacoteca. However, greater attention should be paid to the other mural, located in the lower church of St. Francis of Assisi, and also created during the painting by Giotto made visible above the mural ( link ). Both paintings are largely similar - Mary Magdalene's robe may be slightly different Draped, no sleeping soldiers and you will see that the artist is at least a few classes weaker. The relationship is striking, however, and on this basis it is claimed that it could occur earlier (late thirteenth century) and that Giotto could be the author of this work. A little doubtful in view of its artistry, but perhaps suggested this painting and turned it yourself is a much higher quality look.
As you can see this joyous holiday, a reason for making the analysis of many interesting info about the paintings. I hope that no one can blame me for zażartowanie of these works, in particular, that means they were not to be controversial ... Maybe if they questioned the dogmas or something, but it's just not my style. So it remains for me nothing but once again wonderful Christmas wishes, and how it kumpela wrote in the SMS that I got a few minutes ago "by the time our dreams Easter remained in effect, that all requests were to meet in order to not run out of goodwill between us, we walk through life in human dignity, that symbol of the Divine Restoration was for us in order to fulfill "(large Marleno estimates for these requests.) Kisses!
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