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by MICHELANGELO
"Pietà"
Posted on 09/10/2021 6:07:58 AM PDT by Hebrews 11:6
LAMENT: THE PIETÀ |
30 A.D. Bible Timeline |
To read MARK 15 in full To hear MAX McLEAN reading it To hear a DRAMATIZATION of it To see an ANIMATION of Matthew, Mark, Luke, or John Harmony of the Gospels
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New International Version, emphases added Abrdgd: the complete text is in your Bible . |
27:57-59 As evening approached, there came a rich man from Arimathea, named Joseph, who had himself become a disciple of Jesus. Going to Pilate, he asked for Jesus’ body, and Pilate ordered that it be given to him. Joseph took the body…. | 15:42-46 It was Preparation Day (that is, the day before the Sabbath). So as evening approached, Joseph of Arimathea, a prominent member of the Council, who was himself waiting for the kingdom of God, went boldly to Pilate and asked for Jesus’ body. Pilate was surprised to hear that he was already dead. Summoning the centurion, he asked him if Jesus had already died. When he learned from the centurion that it was so, he gave the body to Joseph. So Joseph bought some linen cloth, took down the body, wrapped it in the linen…. | 23:50-53 Now there was a man named Joseph, a member of the Council, a good and upright man, who had not consented to their decision and action. He came from the Judean town of Arimathea, and he himself was waiting for the kingdom of God. Going to Pilate, he asked for Jesus’ body. Then he took it down, wrapped it in linen cloth…. | 19:38-40 Later, Joseph of Arimathea asked Pilate for the body of Jesus. Now Joseph was a disciple of Jesus, but secretly because he feared the Jewish leaders. With Pilate’s permission, he came and took the body away. He was accompanied by Nicodemus, the man who earlier had visited Jesus at night. Nicodemus brought a mixture of myrrh and aloes, about seventy-five pounds. Taking Jesus’ body, the two of them wrapped it, with the spices, in strips of linen. This was in accordance with Jewish burial customs. |
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Most of the Renaissance painters got it wrong.
Christ’s body would have been beaten, bruised and bloody, from top of his head to the bottom of his feet.
Having been scourged, with 40 lashes, his back would have looked like ground beef and his front would have been black and blue with bruises from the Roman soldiers mocking and beating him.............
You are absolutely correct. Mel Gibson’s portrayal was much closer to the mark.
I have wanted to see Pieta for years
Maybe next year ....
Even his was ‘cleaned up’ a bit.
During the scourging scene, the actor was wearing a board across his back, and one of the hits missed the board, so the pain you see the actor portraying was real at that moment......................
Thank you for the hard work finding and posting these images.
We know that there have been many painting about the Christ. To see the amazing variety - and the excellence in painting and in sculpture - is phenomenal.
And yet, somehow, the Michelangelo just seems ... almost perfect.
I'm supposing you'll be able to see it for sure during the Millennial Kingdom: it is marble and will withstand all the destruction of the Great Tribulation. I'll meet you there.
I’d heard that, too: Jim Caviezel.
Good Morning, Dan.
To stand out above all these: He was truly a genius.
I can never remember his name............................
Same to ya, Mary-Lou.
Hi, Alba!
A great favorite of mine, #12, by the French painter and miniaturist Jean Fouquet, done in 1460. This masterpiece is located in the small town of Nouans-les-Fontaines (Loire), in St. Martin Church. It is the only surviving panel of a much larger altarpiece. The iconography is very original for the time, depicting the moment between the Descent and the entombment, when the body of the Christ, still supported by Niccodemus and Joseph of Arimathea, is laid on his mother’s knees. There is a sense of extreme softness, of silent and restrained sorrow, the inner pain revealed only by the tension in Mary’s hands and in her eyes reddened by tears. All the white on the left is echoed on the right by the tunic of the donor, superbly detailed by the artist. Behind the donor is St. James, holding his pilgrim staff. The modernity and originality of Fouquet is also seen in the position of the figures against a blue/green, semi-abstract background, in a way lifting this sacred moment outside of time and space.
Sad eyes
Her face is empty, desolate, she has no more tears to shed. The silent sorrow of a mother...
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