Search results for Carlo Crivelli
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National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 6 'So near and yet so far'
Part of the challenge of depicting Christ lies in showing his ‘visibility’ as a man who lived on earth, while also indicating the ‘invisibility’ of God eternal. This episode looks at ‘The Virgin and Child with Two Angels’ by Andrea del Verrocchio and Lorenzo di Credi (around 1476–8) and ‘The Vision of the Blessed Gabrielle’ by Carlo Crivelli (probably about 1489), and considers the pictorial device of the ‘threshold’ as a visual response to the simultaneous proximity of divine presence and the utter transcendence of God. ‘The audacity of Christian art: The problem of painting Christ’ is a seven-part series in which Dr Chloë Reddaway, Howard and Roberta Ahmanson Curator in Art and Religion at the National Gallery, explores the theological and artistic challenges involved in painting Christ as fully human and fully divine, and reveals some of the ingenious and surprising ways in which Renaissance artists responded.
visible and invisible human and divine the 'threshold' transcendence of God ‘The Virgin and Child with Two Angels’ Andrea del Verrocchio Lorenzo di Credi ‘The Vision of the Blessed Gabrielle’ Carlo Crivelli divine presence
National Gallery St John the Baptist film series - Introduction
Who was John the Baptist and why has he been so important to artists and patrons over the centuries? In this first of 10 films, art historian Jennifer Sliwka and theologian Ben Quash introduce us to this pivotal figure in the Biblical story, and reveal the ways he can immediately be recognised in works of art. This episode takes a close look at two National Gallery masterpieces, Carlo Crivelli's 'The Demidoff Altarpiece' 1476 and Piero della Francesca's 'The Baptism of Christ', 1450s. John the Baptist: From Birth to Beheading’ is a series of 10 films sharing the highlights of the collaborative MA course taught by Dr Jennifer Sliwka, Howard and Roberta Ahmanson Fellow in Art and Religion at the National Gallery and Professor Ben Quash, Director of the Centre for Arts and the Sacred, King’s College London.