Bibliographies thématiques / Crucifixion in art

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Littérature scientifique sur le sujet « Crucifixion in art »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 30 juillet 2024

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Articles de revues sur le sujet "Crucifixion in art"

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Bigun, Olga. "Християнські архетипи у творчості Тараса Шевченка". Przegląd Wschodnioeuropejski 14, № 1 (26 червня 2023): 191–201. http://dx.doi.org/10.31648/pw.9031.

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The assimilation of Byzantine culture in the Slavic lands was accompanied by the exegesis of the New Testament and the formation of the phenomenal value of symbolic images, which were part of the literary and artistic consciousness of that time. The force field of Christian archetypes has preserved a long tradition in the Ukrainian literature. Christian archetypes of the Resurrection and the Crucifixion in Shevchenko’s painting and literary work are studied with modern approaches to comparative literature and theological exegesis, taking into account artistic Christology, philosophical and aes
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Jeffrey, David Lyle. "Meditation and Atonement in the Art of Marc Chagall." Religion and the Arts 16, no. 3 (2012): 211–30. http://dx.doi.org/10.1163/156852912x635205.

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Abstract Chagall’s crucifixion paintings, long a delicate subject among art historians, are best contextualized in the light of his life-long repatriation of Christian iconography to its Jewish foundation. Chagall reverses typological sequences familiar to Christians, so that instead of the Old Testament being seen as prefiguring the events of the Gospels, in his work the New Testament refers back to the Hebrew Scriptures in such a way as to illuminate the universal in Jewish experience. In Solitude (1933) and The Yellow Crucifixion (1943) we see how Chagall achieves a remarkable fusion of Jew
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Panteleev, Aleksey D. "Crucifixion in the Ancient Art of the Roman Period." Actual Problems of Theory and History of Art 11 (2021): 124–33. http://dx.doi.org/10.18688/aa2111-01-11.

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ÖZRİLİ, Yaşar. "THE CROSS IN BYZANTINE ART: ICONOGRAPHY SYMBOLISM AND MEANING." KutBilim Sosyal Bilimler ve Sanat Dergisi 3, no. 2 (December 28, 2023): 116–30. http://dx.doi.org/10.58642/kutbilim.1384706.

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Byzantine art is an artistic tradition that developed during the Middle Ages when the Eastern Roman Empire was dominant. The cross is a very important symbol in Byzantine art and has a deep meaning in terms of both iconography and symbolism. This study aims to analyse the iconographic and symbolic expressive power of the cross in Byzantine art. Iconographic representations of the cross in Byzantine art characterise the crucifixion of Jesus Christ and his suffering. In iconography, there are various forms, depictions of the cross. These include various types such as the Latin cross, the Greek c
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de Chaves, Lila. "An Investigation on a Coptic Embroidered Panel from the 13th Century “Crucifixion with the Twelve Apostles” (Benaki Museum, Athens)." Heritage 4, no. 4 (November 13, 2021): 4335–43. http://dx.doi.org/10.3390/heritage4040239.

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The “Crucifixion with the twelve Apostles”, a unique Coptic embroidered panel, was on display at the Benaki Museum (Athens, Greece). The representation of the “Crucifixion” with Christ in the center and six Apostles on either side, standing next to each other in frontal poses, is quite a rare one. This rare iconographic image of the twelve Apostles could be linked to the Ascension or the Pentecost. This unique representation of the Crucifixion with the twelve Apostles, which also involves the Ascension, is a one-of-a-kind compositional formula representing Christ’s Death as a triumph over Deat
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Coatsworth, Elizabeth. "The ‘robed Christ’ in pre-Conquest sculptures of the Crucifixion." Anglo-Saxon England 29 (January 2000): 153–76. http://dx.doi.org/10.1017/s0263675100002441.

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In the nineteenth century, John Romilly Allen confidently claimed that the iconography of the Crucifixion with the robed or ‘fully draped’ Christ was a phenomenon of Celtic art, found in Scotland, Ireland and Wales, distinguishable from the ‘Saxon’ type in which Christ wore a loin-cloth. Other features of the Saxon type were the presence of the sun and moon above the arms of the cross, instead of angels as in Ireland; and the figures of the Virgin and St John at the foot of the cross, without the spear- and sponge-bearers, the latter pair appearing only exceptionally at Alnmouth, Northumberlan
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Fowler, Cynthia. "Herman Trunk’s Cubist Crucifix: A Case Study." Religion and the Arts 15, no. 5 (2011): 628–47. http://dx.doi.org/10.1163/156852911x596264.

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Abstract American modern artist Herman Trunk (1894–1963) serves as a noteworthy case study in a consideration of the relationship between religion and American modern art in the first half of the twentieth century. One of his few overtly religious works, Crucifix (c. 1930), stands out for its intriguing convergence of a most important Catholic subject with Cubist art. This essay examines Trunk’s Cubist Crucifix in relation to other Crucifix and Crucifixion paintings created around the same time period. Trunk’s Crucifix is unique among abstract paintings of religious subjects in the artist’s di
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Ledovskih, Natalya P., and Olga G. Belomoeva. "Existential analysis philosophy of art creation." Aspirantskiy Vestnik Povolzhiya 19, no. 7-8 (April 7, 2020): 50–53. http://dx.doi.org/10.17816/2072-2354.2019.19.7-8.50-53.

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The article is devoted to the principles of existential analysis and the possibility of its application, when we study the art creation. We present the methods of existential analysis: the selection of semantic matrices, the search for a rational grain, including in a situation of semantic uncertainty, which makes it possible to reveal the embedded meanings in any sign-symbolic systems, to analyze the reality created by a person/society. Existential analysis is particularly productive for the study of artistic creation. The authors demonstrate the possibilities of using existential analysis in
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Misler, Nicoletta, and John E. Bowlt. "Catherine’s Icon: Pavel Filonov and the Orthodox World." Religions 12, no. 7 (July 6, 2021): 502. http://dx.doi.org/10.3390/rel12070502.

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The authors discuss the Orthodox icon which Pavel Filonov (1883–1941) painted in 1908 or 1909 for his sister, Ekaterina, placing it within the broader context of his oeuvre, his family and his understanding of ‘religiosity’. Making reference to Filonov’s system of Analytical Art and to what he called ‘madness’, the authors focus on the particular technical devices which he used in the icon and on the podlinnik (or primer) from which he copied the main elements. Reference is also made to other religious motifs in Filonov’s art such as the Magi, Flight into Egypt and Crucifixion.
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Tarakanova, Ekaterina I. "WOODEN “CRUCIFIXION” BY FILIPPO BRUNELLESCHI AND MASACCIO’S FRESCO “TRINITY”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 1 (2022): 124–33. http://dx.doi.org/10.28995/2686-7249-2022-1-124-133.

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The connections of the perspective construction and inter- pretation of architecture in Masaccio’s fresco “Trinity” with the work of Brunelleschi is covered extensively in the literature. At the same time, it is surprising that the striking similarity of the figure of Christ on the cross in this monumental painting panel with a wooden crucifix carved by Filippo Brunelleschi is mentioned only in a few foreign studies in the mode of state- ment. This paper analyzes the reasons for this similarity and traces the role of Brunelleschi’s “Crucifixion” in the development of Italian art of the Quat- t
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Thèses sur le sujet "Crucifixion in art"

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Harley, Felicity. "Images of the crucifixion in late antiquity : the testimony of engraved gems." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phh285.pdf.

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Bibliography: leaves 289-313. A study which takes as its focus five gemstones, each engraved with an image of the Crucifixion and previously dated to the Late Antique period. The study undertakes an examination of the gems' iconographic as well as compositional, physical and epigraphic evidence, and demonstrates the way in which critical information regarding the evolution of the Crucifixion image in Late Antiquity has been seriously obstructed in previous studies through the dismissal, misapplication and misinterpretation of the gems. Focusing on iconography, it presents a revised chronology
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Horvath, Jennifer. "Resistance, Resurrection, Liberation: Beyond the Existing Readings of Marc Chagall's Crucifixion Paintings." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1427980680.

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Anderson, Keith Edward. "An investigation of the theological questions raised by twentieth-century works of art which make use of the iconography of the crucifixion." Thesis, Oxford Brookes University, 2014. https://radar.brookes.ac.uk/radar/items/8e78f44e-8d37-4f6a-a078-75318d1b3a4a/1.

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This research developed from an observation that the iconography of the crucifixion was being used by artists in the twentieth century for purposes beyond its usage in earlier centuries. As an active member of a Christian Community this appeared to have implications for a Christian understanding of the theological significance of the crucifixion of Jesus and also its significance in the wider culture of twentieth century Britain. The foundation of this thesis is a Scholarly Edition of sixty works of art, produced from 1913 to 2000, by artists based in Great Britain. They are united by a common
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Rehlinger, Geneviève. "Jésus le Christ dans l'oeuvre de Marc Chagall : le motif du crucifié." Metz, 2006. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2006/Schmitt_Rehlinger.Genevieve.LMZ0607_1_2.pdf.

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Pour déterminer la place de Jésus le Christ dans l'oeuvre de Chagall, nous nous appuyons sur un corpus de 365 œuvres comportant le Motif du Crucifié ainsi que différents documents littéraires (lettres, biographie, poèmes). Notre approche plurielle touche aux domaines de l'histoire de l'art, de la théologie et de l'histoire du judaïsme ( en particulier de la Shoah) et du christianisme, ainsi que de l'exégèse biblique. Une première partie recense les lectures critiques et interprétatives des monographes concernant le motif chez le peintre ; lectures influencées par l'appartenance culturelle et r
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Walker, Ashely Wilemon. "The Thirteenth-Century Fresco Decoration of Santa Maria Ad Cryptas in Fossa, Italy." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/52.

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This paper discusses the fresco decoration of Santa Maria ad Cryptas. The frescoes are described and analyzed, and then compared to similar programs in order to determine which features are based on earlier sources, and which are unusual or unique to this particular church. The traditional features are found to reflect a long-established pattern of church decoration reflected in such monuments as Old Saint Peter’s, Sant’Angelo in Formis, the Cathedral of Monreale, and the Cappella Palatina. The unusual features (including the placement of the Passion cycle in the presbytery, and the location o
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Smith, Tamytha Cameron. "Personal Passions and Carthusian Influences Evident in Rogier Van Der Weyden's Crucified Christ between the Virgin and Saint John and Diptych of the Crucifixion." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5245/.

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This thesis examines Rogier Van Der Weyden's two unique fifteenth century Crucifixions, The Crucified Christ Between the Virgin and Saint John and The Diptych of the Crucifixion, in light of Carthusian beliefs, practices and relevant devotional texts. The specific text used to support this examination is the Vita Christi by Ludolph of Saxony, which in part deals specifically with the Hours of the Passion. Ludolph's text is given visual form in Rogier's paintings and supports the assertion that Rogier and Ludolph were connected by a shared belief and worldview. Key aspects of Rogier's life, sup
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Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.
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Ogden, Jenna Noelle. "The Leprous Christ and the Christ-like Leper: The Leprous Body as an Intermediary to the Body of Christ in Late Medieval Art and Society." Cleveland State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=csu1305075738.

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Balicka-Witakowska, Ewa. "La crucifixion sans crucifié dans l'art éthiopien : recherches sur la survie de l'iconographie chrétienne de l'Antiquité tardive /." Warszawa ; Wiesbaden : ZAŚ PAN, 1997. http://catalogue.bnf.fr/ark:/12148/cb39219741v.

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Ewin, Kristan Foust. "The Argei: Sex, War, and Crucifixion in Rome and the Ancient Near East." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115076/.

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The purpose of the Roman Argei ceremony, during which the Vestal Virgins harvested made and paraded rush puppets only to throw them into the Tiber, is widely debated. Modern historians supply three main reasons for the purpose of the Argei: an agrarian act, a scapegoat, and finally as an offering averting deceased spirits or Lares. I suggest that the ceremony also related to war and the spectacle of displaying war casualties. I compare the ancient Near East and Rome and connect the element of war and husbandry and claim that the Argei paralleled the sacred marriage. in addition to an agricult
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Livres sur le sujet "Crucifixion in art"

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Julia, Hasting, ed. Crucifixion. London: Phaidon, 2000.

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contributor, Fogliadini Emanuela, ed. Crucifixion: La crucifixion dans l'art, un sujet planétaire. Montrouge: Bayard Édition, 2019.

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Réunion des musées nationaux (France), Musée national de la Renaissance (France), and Union latine, eds. Le triptyque aztèque de la crucifixion. Paris: Réunion des musées nationaux, 2004.

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Brindisi, Remo. La passione. Roma: Edicigno, 1990.

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Lara, Angel Aroca. El Crucificado en la imaginería andaluza del siglo XVII. Córdoba: Publicaciones del Monte de Piedad y Caja de Ahorros de Córdoba, 1987.

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Castro, Sandra. Art of the cross: A Philippine tradition. Makati City, Philippines: Ayala Museum, 2002.

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Alessandra, Tiroli, ed. Passio: Un volto dolente da contemplare. Ponte S. Giovanni (Perugia): Quattroemme, 2004.

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Rossella, Vodret Adamo, Lo Bianco Anna, and Galleria nazionale d'arte antica (Italy), eds. La croce dipinta Jacorossi. Roma: Gebart, 2010.

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Marco, Droghini, and Droghini Marco, eds. Tiziano, Rubens: Ecce Homo, Sbarco di Maria de' Medici a Marsiglia. Cinisello Balsamo, Milano: Silvana editoriale, 2019.

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Giovanni, Testori, and Museo civico Amedeo Lia (La Spezia, Italy), eds. (In)croci al Museo Lia: La passione di Cristo secondo Giovanni Testori. Novate Milanese]: Casa Testori associazione culturale, 2018.

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Chapitres de livres sur le sujet "Crucifixion in art"

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Jensen, Robin M. "Jesus's Crucifixion, Resurrection, and Ascension." In Understanding Early Christian Art, 200–238. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003216094-6.

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Binski, Paul. "The crucifixion and the censorship of art around 1300." In The Medieval World, 418–36. Second edition. | Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: The Routledge worlds: Routledge, 2018. http://dx.doi.org/10.4324/9781315102511-25.

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Neil, Josephine. "Chapter 12The Reception of Divine Grace in Hendrick ter Brugghen’s Crucifixion with the Virgin and Saint John." In Sacred Images and Normativity: Contested Forms in Early Modern Art, 224–41. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.sacrima-eb.5.122589.

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Wenkel, David H. "The Act of Beating the Fool." In Jesus' Crucifixion Beatings and the Book of Proverbs, 89–103. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-48270-5_7.

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"Ekphrasis of the Crucifixion." In Michael Psellos on Literature and Art, translated by Charles Barber and Elizabeth A. Fisher, 290–99. University of Notre Dame Press, 2017. http://dx.doi.org/10.2307/j.ctvpj7gd5.27.

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Viladesau, Richard. "The Cross in Modern Visual Art." In The Wisdom and Power of the Cross, 180–256. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197516522.003.0004.

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This chapter looks at treatments of the cross in “fixed” images: painting and drawing, sculpture, and photography. The first part examines the cross in its traditional religious setting. Among the major artists covered are Maurice Denis, Georges Rouault, and Salvador Dalí. The second part surveys the use of the cross in secular settings. The crucifixion of Jesus here becomes a metaphor for the unjust sufferings of others: humanity in general; the artist; the Jewish people; persecuted groups like women or blacks; victims of political and social injustice; those oppressed by the church. The crucifixion also becomes an established artistic genre, without a particular message.
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"Tintoretto’s Crucifixion and Cassinese Spirituality." In Nuns and Reform Art in Early Modern Venice, 160–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315090429-9.

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Burnham, Rika. "12 Radiant Dialogue: Discovering Piero’s Crucifixion in The Frick Collection." In Time and Presence in Art, 235–42. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110722079-013.

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"Madonna’s crucifixion and the woman’s body in feminist theology." In Doing Gender in Media, Art and Culture, 129–45. Routledge, 2009. http://dx.doi.org/10.4324/9780203876800-17.

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"Iconoclasm: Crucifixion as Self-Annihilation in Late Works (1804 – 27)." In The Visionary Art of William Blake. I.B. Tauris, 2018. http://dx.doi.org/10.5040/9781350989375.ch-005.

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Actes de conférences sur le sujet "Crucifixion in art"

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ХУХАРЕВ, В. В. "Stone Cross from Podborovie Village in Tver Region: a Preprint." In Тверь, тверская земля и сопредельные территории в эпоху средневековья. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2018.978-5-9906508-3-1.203-207.

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В фондах ТГОМ хранится каменный крест, вывезенный в 1980 г. из окрестностей д. Подборовье Лесного района Калининской области. По форме представляет собой четырехконечный крест с расширяющимися концами, вписанный в круг. На лицевой стороне креста в центре вырезано Распятие Христово, по бокам от него – парящие ангелы. У подножия креста – два воина. В боковых рукавах креста в округлых медальонах изображены предстоящие. В верхней оконечности – шестикрылый серафим. Над серафимом и с боков предстоящих надписи. Крест можно относить к памятникам, тяготеющим к новгородскому кругу древностей. A stone cr
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