Christ in Art (Temporis Collection)
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Since the dawn of Christianity, artists have been fascinated and stirred by the figure of Christ. His likeness appears in frescoes on the walls of catacombs that date from Roman times; he is featured in the stained glass windows of Gothic churches; and he can be found in various forms in today’s pop culture.The Biblical Saviour is not a static, immaterial deity: Christ’s mortal birth, unusual life and dramatic death make him an accessible subject for religious and secular artists alike. Whether they show the spirituality of God Incarnate or the earthly characteristics of a flesh-and-blood man, artistic depictions of Christ are the most controversial, moving or inspirational examples of religious art.
This richly illustrated book explores the various ways that Christ is rendered in art, from Cimabue’s Nativity scenes and Fra Angelico’s paintings of the Crucifixion to the provocative portraits of Salvador Dalí and Andres Serrano. Author Joseph Lewis French guides the reader through the most iconic representations of Christ in art – tender or graphic, classical or bizarre, these images of the Messiah reveal the diverse roles of the Son of God in the social milieus and personal lives of the artists.
impose upon history an a priori philosophy. When we possess several different versions of a single act, when credulity has mingled fabulous circumstances with all these versions, the historian should not conclude that the act is unreal; but he should in such cases be upon his guard, compare the texts and proceed by induction. There is in particular one class of relations to which this principle must necessarily be applied – supernatural relations. Seeking to explain these relations or to reduce
obtained, his death would not serve the progress of his ideas. He returned to Galilee, matured by an important experience and having developed contact with a great man, very different from himself, the feeling of his originality. On the whole, the influence of John had been more injurious than useful to Jesus. It was a check in his development. Everything goes to show that when he descended to the Jordan his ideas were superior to those of John, and that it was by a species of concession that he
poverty could not be very durable. It was one of those utopian elements which always existed in great foundations, and which time tempers to just proportions. Transported into the broad medium of human society, Christianity was one day very readily to consent to take the rich to its bosom, just as Buddhism, exclusively monastic in its origin, when conversions began to multiply, soon came to admit lay members. But everything preserves the mark of its origins. Although quickly laid aside and
midst of his disciples when they were assembled in his name, rendered this easily admissible. Jesus, as we have already observed, never had any well defined idea of what constitutes individuality. At the height of exaltation to which he had arrived, the idea dominated all else to such a degree, that the body went for nothing. People are one when they love each other, when they live for one another. Had not he and his disciples been one? His disciples adopted the same language. Those who, for
precepts which he gave the apostles were absolutely inapplicable outside of a simple society of humble people. Having no idea of the world, accustomed to his friendly Galilean communism, naiveties were constantly escaping him, which at Jerusalem might appear singular. His imagination, his taste for nature found itself constrained within these walls. The true religion was not to spring from the tumult Christ Detached from the Cross, of cities, but from the tranquil serenity of the fields. also