Search results for Lorenzo di Credi

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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 - 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