LaurieAnnie's photos with the keyword: Pieta

South German Pietà, ca. 1480 Polychrome wood h. 68 cm. (26 3/4 in.), w. 50 cm, d. 18.8 cm Bequest of Albert Mathias Friend, Jr., Class of 1915 y1956-114 Text from: artmuseum.princeton.edu/collections/objects/27786

South German Pietà, ca. 1480 Polychrome wood h. 68 cm. (26 3/4 in.), w. 50 cm, d. 18.8 cm Bequest of Albert Mathias Friend, Jr., Class of 1915 y1956-114 Text from: artmuseum.princeton.edu/collections/objects/27786

Pietà (Vesperbild) Date: ca. 1400 Culture: Bohemian Medium: Limestone with polychrome highlight Dimensions: 15 x 15 3/8 x 5 1/2 in. (38.1 x 39.1 x 14.0 cm) Classification: Sculpture-Stone Credit Line: The Cloisters Collection, 2001 Accession Number: 2001.78 Description: Created as an object of private devotion, this group is a strikingly pure expression of the Schöne Stil, or Beautiful Style, an artistic idiom that emerged at the imperial court in Prague at the end of the fourteenth century and subsequently resonated in artistic centers throughout Europe. The sculptor combines an almost mimetic rendering of detail and a selectively abstract treatment of surfaces. Christ's broken, emaciated body, naked except for the loincloth, offers a stark contrast to the Virgin's youthful figure, clad in abundant folds. The blending of sensuality and restraint gives this sculpture immediate emotional appeal. Text from: www.metmuseum.org/collection/the-collection-online/search/473331

South German Pietà, ca. 1480 Polychrome wood h. 68 cm. (26 3/4 in.), w. 50 cm, d. 18.8 cm Bequest of Albert Mathias Friend, Jr., Class of 1915 y1956-114 Text from: artmuseum.princeton.edu/collections/objects/27786

Pieta Alabaster, traces of original paint Spanish, second quarter of the 16th century Acquisition # 33.1.153.1 The representation of the mourning Virgin holding her son's crucified body in her lap was a popular devotional image throughout the Catholic world, echoing the even more beloved depiction of the Madonna and Child in more joyful times. Often the Virgin is simply shown in sorrowful contemplation so as to emphasize a maternal sensibility not described in the Gospels but rather derived from mystical writings disseminated among converts. In this composition, Mary's sorrowful gesture relates the theme to the more elaborate portrayal of the Lamentation at the foot of the cross. So, too, does the corpselike rigidity of Christ's torso, a pose typical of the late fifteenth century. The use of alabaster was particularly characteristic of architectural and figural sculpture in Catalonia and Aragon, but this group has not yet been conclusively linked to the work of any artist of that region. Text from the Metropolitan Museum of Art label.

Pieta Alabaster, traces of original paint Spanish, second quarter of the 16th century Acquisition # 33.1.153.1 The representation of the mourning Virgin holding her son's crucified body in her lap was a popular devotional image throughout the Catholic world, echoing the even more beloved depiction of the Madonna and Child in more joyful times. Often the Virgin is simply shown in sorrowful contemplation so as to emphasize a maternal sensibility not described in the Gospels but rather derived from mystical writings disseminated among converts. In this composition, Mary's sorrowful gesture relates the theme to the more elaborate portrayal of the Lamentation at the foot of the cross. So, too, does the corpselike rigidity of Christ's torso, a pose typical of the late fifteenth century. The use of alabaster was particularly characteristic of architectural and figural sculpture in Catalonia and Aragon, but this group has not yet been conclusively linked to the work of any artist of that region. Text from the Metropolitan Museum of Art label.

Pieta Giovanni della Robbia (Florentine, 1469-1529/1530) Glazed and Painted Terracotta c. 1510-1520 # 1943.4.70 Text from the National Gallery label.

Pieta (Vesperbild) Poplar, polychromy, and gilding Germany, Rhineland, about 1375-1400 Accession # 48.85 The Virgin mourning over her son became a popular devotional subject in the later Middle Ages. Rigid in death, Christ's body bears the marks of his Passion. The figure's small scale may reflect the writings of the German mystics, who believed that the Virgin, in the agony of her grief, imagined that she was holding Christ as a baby once again in her arms. Text from the Cloisters label.

Pieta Lindenwood, polychromy, and gilding Germany, Swabia, Jagst-Neckar region, 1435-1440 From the Cistercian convent at Himmelspforten, Bavaria (Unterfranken), near Wurzburg Accession # 64.80 Devotional images that emphasize the physical sufferings of Christ developed early in the 14th century. This example, which derives from a Bohemian type known as a Vesperbild, or Virgin of Sorrows, belongs to this tradition. Early examples represent the Virgin in a state of great emotion, but by the 15th century her demeanor is more calm and contemplative. The lyrical naturalism of the figure heralds the beginnings of the German Late Gothic style. Text from the Cloisters label.

Pieta Lindenwood, polychromy, and gilding Germany, Swabia, Jagst-Neckar region, 1435-1440 From the Cistercian convent at Himmelspforten, Bavaria (Unterfranken), near Wurzburg Accession # 64.80 Devotional images that emphasize the physical sufferings of Christ developed early in the 14th century. This example, which derives from a Bohemian type known as a Vesperbild, or Virgin of Sorrows, belongs to this tradition. Early examples represent the Virgin in a state of great emotion, but by the 15th century her demeanor is more calm and contemplative. The lyrical naturalism of the figure heralds the beginnings of the German Late Gothic style. Text from the Cloisters label.

Pieta Lindenwood, polychromy, and gilding Germany, Swabia, Jagst-Neckar region, 1435-1440 From the Cistercian convent at Himmelspforten, Bavaria (Unterfranken), near Wurzburg Accession # 64.80 Devotional images that emphasize the physical sufferings of Christ developed early in the 14th century. This example, which derives from a Bohemian type known as a Vesperbild, or Virgin of Sorrows, belongs to this tradition. Early examples represent the Virgin in a state of great emotion, but by the 15th century her demeanor is more calm and contemplative. The lyrical naturalism of the figure heralds the beginnings of the German Late Gothic style. Text from the Cloisters label.

Calvary Cemetery is located at 49-02 Laurel Hill Blvd. in Woodside in the New York City borough of Queens, New York. The cemetery is managed by the Trustees of St. Patrick's Cathedral, New York. It is one of the oldest and largest cemeteries in the United States. In 1847, faced with cholera epidemics and a shortage of burial grounds in Manhattan, the New York State Legislature passed the Rural Cemetery Act authorizing nonprofit corporations to operate commercial cemeteries. Old St. Patrick's Cathedral trustees had purchased land in Maspeth in 1846, and the first burial in Calvary Cemetery there was in 1848. By 1852 there were 50 burials a day, half of them the Irish poor under seven years of age. By the 1990s there were nearly 3 million graves in Calvary Cemetery. Text from: en.wikipedia.org/wiki/Calvary_Cemetery,_Queens