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Wednesday, October 14, 2020 | History

2 edition of Christ Child in devotional images in Italy during the XIV century. found in the catalog.

Christ Child in devotional images in Italy during the XIV century.

Dorothy C. Shorr

Christ Child in devotional images in Italy during the XIV century.

by Dorothy C. Shorr

  • 177 Want to read
  • 34 Currently reading

Published by G. Wittenborn in New York .
Written in English

    Subjects:
  • Jesus Christ -- Art.,
  • Art -- Italy -- History.

  • Edition Notes

    GenreArt.
    The Physical Object
    Paginationxi, 208 p.
    Number of Pages208
    ID Numbers
    Open LibraryOL21961718M

    a hilly landscape holding the Christ child who displays the Eucharistic bread. During the fourteenth century the Man of Sorrows was sometimes considered more popular and influential than the image of the crucified Christ. This form of devotional image had originally derived from icons imported from Byzantium during. Images like this encouraged people to reflect on the gospels at all times, creating a truly devotional society. Lesson Summary In 15th-century Northern Europe, art had a very specific purpose.

    This bust of a young boy has been traditionally identified as depicting the Christ child, even though the metal halo is a nineteenth-century addition. The bust may once have been coupled with one of the young St. John the Baptist, as such pairings were popular in Florence during the second half of the fifteenth century. As the Renaissance flourished in Europe, images of the Christ child developed; he became a more tender, humanised baby. By the High Renaissance, artists such as Raphael and Michelangelo were creating beautifully believable, devotional images of the Holy Family, and accompanying angels.

      Bernardo Daddi was with Taddeo Gaddi one of the two outstanding Florentine painters of the generation that succeeded Giotto's. Giotto himself was the formative influence of his early style, but Daddi reacted to other artists, including the Saint Cecilia Master, and had a distinct personality of his own, a sense of rhythm, beautifully expressed in this panel by the upturned faces of the two. Another pose is the Theotokos Galaktotrophousa (milk-giving God-Bearer), which involves the Madonna suckling the Christ Child. This is actually the oldest of all images of the Virgin and Child, first seen in the Catacomb of Priscilla, around (In the 14th century, this was called the Madonna del Latte.).


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Christ Child in devotional images in Italy during the XIV century by Dorothy C. Shorr Download PDF EPUB FB2

The Christ Child in devotional images in Italy during the XIV century [Shorr, Dorothy C] on *FREE* shipping on qualifying offers. The Christ Child in devotional images in Italy during the XIV centuryAuthor: Dorothy C Shorr. The Christ Child in devotional images in Italy during the XIV century.

About this Book Catalog Record Details. The Christ Child in devotional images in Italy during the XIV Shorr, Dorothy C. View full catalog record. Rights: Public Domain, Google-digitized. Christ Child in devotional images in Italy during the XIV century.

New York, G. Wittenborn, (DLC) (OCoLC) Named Person: Jesus Christ; Jesus Christ.; Jésus-Christ: Material Type: Document, Internet resource: Document Type: Internet Resource, Computer File: All Authors / Contributors: Dorothy C Shorr. Book Reviews Dorothy C.

Shorr, The Christ Child in Devotional Images in Italy during the XIV Century xii + pp., ill., New York: George Wittenborn, $Author: Walter L. Nathan. The Christ Child in devotional images in Italy during the XIV century.

Description. Tools. Cite this; Export citation file The Christ Child in Flanders Author Timmermans, Felix, Published Italy in the golden centuries. Author Montanelli, Indro, Published Italy in the thirteenth century. Author. The Christ Child in devotional images in Italy during the XIV century.

The Christ Child in Devotional Images in Italy During the XIV Century. New York,pp.ill. (detail), based on information provided by Offner, attributes it to Barna. Bernard Berenson. Italian Pictures of the Renaissance: Central Italian and North Italian Schools.

London,vol. 1, p.lists it as by Memmi. Dorothy C. Shorr () interpreted the motif as “fruit of Heaven”; Dorothy C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century (New York, ), [2].

A modern (nineteenth- or twentieth-century) copy of this painting, attributed to Agnolo himself, was with Wildenstein & Co. in New York in ; see Dorothy C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century (New York, ), [22]. In recent decades, art historical writing has focused strongly on the use and reception of images.

The contributions in this publication are devoted to two crucial concepts or functions of Christian images in the Middle Ages and the post-Reformation period: the image of cult and the image of devotion (’Andachtsbild’).The contributions present and discuss visual art and the receptions and.

Salus Populi Romani (Protectress, or more literally health or salvation, of the Roman People) is a Roman Catholic title associated with the venerated image of the Virgin Mary in Byzantine icon of the Madonna and Christ Child holding a Gospel book is kept in the Borghese (Pauline) Chapel of the Basilica of Saint Mary Major.

The image arrived in Rome in the year AD during the. The Christ Child in Devotional Images in Italy During the XIV Century.

New York,p.mentions it in connection with the Acton Madonna and Child, noting that the formal gesture of the Child's hand raised in blessing seen in the MMA picture has, in the Acton work, been "humanized" and transformed into the Child reaching for the flower.

Triptych of the Virgin and Child with Scenes from the Life of Christ Origin Veneto Date – Medium The Christ Child in Devotional Images in Italy during the XIV Century, New York,p. 48, ill. Female Saint in a Historiated Initial “L” from a Choir Book, / In the fourteenth century, a custom began in Germany and Austria of rocking the Christ Child's image in a cradle.

The priest would carry the cradle to the altar and rock it while the parishioners sang and prayed. The liturgy ended with the devotional kissing of the Christ Child at the altar rail. The image, in which the Virgin Mary sits on a throne with the Christ child on her lap, is believed to be a reconstruction of a sixth-century mosaic that was destroyed during the Iconoclasm.

An inscription reads: “The images which the impostors had cast down here. In England, during the later years of the thirteenth century and the early years of the fourteenth century, a distinctive and influential style developed, known as _____.

the Decorated Style The ______ of Duccio's representation of the Raising of Lazarus contrasts with Giotto's portrayal of the same subject. A Madonna (Italian:) is a representation of Mary, either alone or with her child images are central icons for both the Catholic and Orthodox churches.

The word is from Italian ma donna 'my lady'. The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of.

Dorothy C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century (New York, ), pp. 61, 65, fig. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, ), p.

The theme of the Madonna and Child was rare in the first centuries of early Christian art (c. 3rd–6th century). Inhowever, the establishment of Mary’s title of Theotokos (“Mother of God”) definitively affirmed the full deity of Christ. Thereafter, to emphasize this concept, an enthroned Madonna and Child were given a prominent place in monumental church decoration.

And there are particular devotions to the Christ Child due to an apparition or a miraculous image, such as is the case with the Infant of Prague, El Santo Niño de Atocha, and the Santo Bambino di Ara Coeli in Rome.

The Infant of Prague In Prague, Czech Republic, there is a statue of the Christ Child known as the "Infant of Prague.". Relief, ivory, the Christ Child on a rock, by an unknown artist, Netherlandish, ca. Museum Number AAugsburg, This edition of the Passion of the Lord Jesus Christ is illustrated by a woodcut initial letter and twenty-four hand-colored woodcut of "Christ Washing the Feet of the Apostles" is one of the more successful in the group.

Typical of the early s, the image has broad contours outlining the figures and parallel lines modeling their forms.D. C. Shorr, The Christ Child in Devotional Images in Italy during the XIV Century, New Yorkp. 33, reproduced fig.

4 (as School of Jacopo di Cione). Catalogue Note The Florentine artist Ventura di Moro specialized in small-scale portable tabernacles destined for private devotion, such as this one.