Das Martyrium des Heiligen Andreas, 1600. Dieses kleine devotional Bild von einem anonymen aus dem 17. Jahrhundert venezianischen Künstlers zeichnete seine Komposition von Guido Reni's große St. Andrew zum Martyrium Fresko in der römischen Kirche San Gregorio al Celio geführt. Die CMA zeigt das zentrale Bild von Reni's 1608 Fresko von Reni. St. Andrew und seinem Bruder Petrus Apostel Christi und Links Alle ihre Besitztümer, ihm zu folgen. Andrew war in Achaia gemartert. Er forderte auf der X-förmigen Kreuz gekreuzigt zu werden, da Andrew betrachtete sich selbst als unwürdig sterben auf das gleiche Kreuz, als Christus. Reni eine X-Form dargestellt

• Bildanbieter: Heritage Image Partnership Ltd / Alamy Stock Foto
• Bild-ID: 2A53054
• Dateigröße: 67,2 MB (4,1 MB Komprimierter Download)
• Freigaben (Releases): Model - nein | Eigentum - nein
• Format: 4429 x 5306 px | 37,5 x 44,9 cm | 14,8 x 17,7 inches | 300dpi
• Fotograf: Heritage Art/Heritage Images

Weitere Informationen

Dieses Bild kann kleinere Mängel aufweisen, da es sich um ein historisches Bild oder ein Reportagebild handel

Martyrdom of Saint Andrew, 1600s. This small devotional picture by an anonymous 17th-century Venetian artist drew his composition from Guido Reni's large St. Andrew Led to Martyrdom fresco in Rome's Church of San Gregorio al Celio. The CMA painting portrays the central image of Reni's 1608 fresco by Reni. St. Andrew and his brother Peter were apostles of Christ and left all of their possessions to follow him. Andrew was martyred in Achaea. He requested to be crucified on the X-shaped cross because Andrew considered himself unworthy of dying on the same cross as Christ. Reni depicted an X-shaped cross in the fresco, while in this painting, the Latin cross is used. The Latin cross was common to Northern art, suggesting that the artist of this painting may have been Venetian. This representation of St. Andrew's martyrdom focuses on St. Andrew's adoration of the cross. The CMA version does not possess the chaos of Reni's larger scene, focusing instead on the central four figures, whereas in the original, a crowd of people surrounds the central group. The figure on the left bends in an unnatural pose and lacks the precision of Reni's original forms, suggesting that this piece is by another artist. The cross, originally seen in the distance, appears in the foreground of the smaller work, brought closer to St. Andrew to emphasize his relationship with God and his acceptance of his coming death.

Stockbilder mithilfe von Tags suchen

• 1575-1642
• 17 jh
• bemalung
• das cleveland museum der kunst
• erbe kunst
• guido reni italienisch
• italien
• öl auf leinwand
• unbekannt