Search results for Human and divine

Your search returned 6 row/s.

 

Item Added Title & description Tags

02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 7 'Unspeakable Images - when words fail'

ADMINISTRATOR

No single painting of Christ in the canon of Christian art can adequately express what Christians believe about him, but this final episode considers how a painting can point beyond itself, encouraging the viewer not to take the image at face value but to engage with the mystery it presents. Chloë Reddaway explores the use of blank spaces as a radical way of indicating divine activity and looks at the value of unfinished works in stimulating the viewer’s imagination with a close look at Michelangelo’s unfinished masterpiece, ‘The Entombment’ (around 1500–1). ‘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.

Michelangelo ‘The Entombment’ blank space pointing to mystery of the divine human and divine Incarnation


02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 6 'So near and yet so far'

ADMINISTRATOR

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


02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 5 'This World and the Next'

ADMINISTRATOR

This episode explores three popular picture types which have no gospel basis but which use temporal and spatial ambiguity to reflect on the mystery of Christ having a temporal life on earth, and also being part of the eternal Trinity. The principal paintings discussed in this episode are ‘The Virgin and Child in a Landscape’ by Jan Provoost (early 16th century), ‘The Virgin and Child Enthroned by Cosimo Tura’ (mid-1470s), and ‘Christ Crowned with Thorns’ by Dirk Bouts (about 1470). ‘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.

human and divine on earth and in heaven Jan Provoost 'Virgin and Child in a Landscape' ‘The Virgin and Child Enthroned by Cosimo Tura’ ‘Christ Crowned with Thorns’ Dirk Bouts


02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 4 'Time and Eternity'

ADMINISTRATOR

Like place, time is an important theological category and, like the Incarnation, it can be hard to comprehend. This episode looks at sophisticated ways of handling different but related time frames in Ercole de’ Roberti’s ‘The Dead Christ’ (about 1490) and the exquisite ‘The Deposition’ by the Master of the Saint Bartholomew Altarpiece (about 1500–5). ‘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.

human and divine symbolism of time Ercole de'Roberti 'The Dead Christ' 'Deposition' Master of the St Bartholomew Altarpiece


02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 3 Putting God in His place

ADMINISTRATOR

How do artists handle the challenge of attempting to depict a figure who lived a human life on earth – at a specific time and in specific places – but who was simultaneously divine, beyond place and time? In this episode Chloë Reddaway shows how artists have used ‘place’ in their paintings to point to the limitations of our vision and understanding when pondering this mystery, focusing on the mysterious location of Lorenzo di Credi’s ‘The Virgin and Child’ (about 1480–5) and the spatial metaphors at work in Filippo Lippi’s ‘The Annunciation’ (about 1450–3). ‘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.

Lorenzo di Credi Virgin and Child Filipo Lippi Annunciation human and divine metaphor of place


02-12-2017

National Gallery film series: The Audacity of Christian Art with Chloë Reddaway - 1 'The problem with Christ'

ADMINISTRATOR

How do you paint a figure who is fully human and fully divine? This episode sets the scene for exploring the problem and considers the inherent audacity of what Christian art attempts to do. Beginning with Cima da Conegliano’s ‘The Incredulity of Saint Thomas’ (about 1502–4), Chloë Reddaway suggests thatsome artists invite viewers to ponder the mystery of the Incarnation by creating and playing with strange and paradoxical elements in their paintings. ‘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.

Human and divine incarnation symbolism