LaurieAnnie's photos with the keyword: Crucifixion

Middle Byzantine attributed to the Nikephoros Group Place made: Constantinople, Turkey Plaque with the Crucifixion, 10th century Ivory 13.5 x 8.8 x 0.7 cm (5 5/16 x 3 7/16 x 1/4 in.) Museum purchase y1942-60 Text from: artmuseum.princeton.edu/collections/objects/21911

Pendant with the Crucifixion Date: 14th century Culture: French (?) Medium: Basse taille enamel, silver Dimensions: Overall (with chain): 2 5/8 x 1 7/16 x 1/8 in. (6.6 x 3.7 x 0.3 cm) of pendant only: 1 11/16 x 1 7/16 x 1/8 in. (4.3 x 3.7 x 0.3 cm) Classification: Enamels-Basse taille Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.916 Text from: www.metmuseum.org/collection/the-collection-online/search/464711

Salvador Dali. Spanish, 1904-1989. Crucifixion (Corpus Hypercubus) 1954 Oil on canvas Accession # 55.5 Text from the Metropolitan Museum of Art label.

Salvador Dali. Spanish, 1904-1989. Crucifixion (Corpus Hypercubus) 1954 Oil on canvas Accession # 55.5 Text from the Metropolitan Museum of Art label.

Gilded-Silver Pendant with the Crucifixion Made in Germany, about 1520 Accession # 11.137.5 Text from the Metropolitan Museum of Art label.

St. Bartholomew's Church, commonly called St. Bart's, is a historic Episcopal parish founded in January 1835, and located on the east side of Park Avenue between 50th and 51st Street in Midtown Manhattan, New York City. Text from: en.wikipedia.org/wiki/St._Bartholomew's_Episcopal_Church,...

Boxwood Diptych with the Mass of Saint Gregory, the Crucifixion, the Annunciation, and the Nativity Carved in the South Lowlands, about 1490-1510 Accession # 17.190.476 While celebrating Communion, Saint Gregory beheld Christ as the Man of Sorrows, surrounded by the instruments with which he was tortured before his death on the cross. The saint's vision and Communion itself demonstrate the personal connection between Christ and the faithful that is the aim of many medieval private devotional practices. This diptych has the very rare feature of inscriptions drawn from the writings of the Church fathers rather than the Bible. Text from the Metropolitan Museum of Art label.

Center Panel of a Triptych with the Crucifixion and the Entombment Date: ca. 1100 Geography: Made in, Amalfi Culture: South Italian Medium: Ivory Dimensions: Overall: 8 7/8 x 4 1/8 x 9/16 in. (22.5 x 10.4 x 1.4 cm) Classification: Ivories Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.43 Text from: www.metmuseum.org/Collections/search-the-collections/1700... Originally the central panel of a triptych, this ivory has a cavity below the Entombment scene that may indicate its function as a reliquary for pieces of the cross on which Jesus was crucified. Text from the Metropolitan Museum of Art label.

Plaque with the Crucifixion Date: ca. 1060–70 Geography: Made in, Amalfi, Italy Culture: South Italian Medium: Ivory Dimensions: Overall: 5 1/16 x 3 3/8 x 3/8 in. (12.9 x 8.6 x 1 cm) Classification: Ivories Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.37 Description: This plaque probably served as the central panel of a triptych icon. Text from: www.metmuseum.org/Collections/search-the-collections/1700...

Byzantine ivories were highly prized in the West, where most survived in church treasuries or were incorporated into deluxe book bindings. The ivory from the panel on the right originally formed the center of a Byzantine three-paneled icon. It may have been one of the many gifts of the Monastery of Santa Cruz de los Seros, which was founded by Queen Felicia, wife of Sancho V Ramirez (r. 1076-94), king of Aragon and Navarre. The other cover is inscribed with her name, below the ivory crucifix, and also includes an Islamic sapphire seal. Book cover (?) with Ivory Plaque Gilded silver on wood backing, inset with sapphire, glass, and crystal From the Monastery of Santa Cruz de los Seros, Jaca, northeastern Spain Setting made before 1085; ivory carved about 1000 in Constantinople Accession # 17.190.134 Text from the Metropolitan Museum of Art label.

Byzantine ivories were highly prized in the West, where most survived in church treasuries or were incorporated into deluxe book bindings. The ivory from the panel on the right originally formed the center of a Byzantine three-paneled icon. It may have been one of the many gifts of the Monastery of Santa Cruz de los Seros, which was founded by Queen Felicia, wife of Sancho V Ramirez (r. 1076-94), king of Aragon and Navarre. The other cover is inscribed with her name, below the ivory crucifix, and also includes an Islamic sapphire seal. Book cover (?) with Ivory Figures Gilded silver on wood backing, inset with glass and cloisonne enamel From the Monastery of Santa Cruz de los Seros, Jaca, northeastern Spain Setting made before 1085 in Jaca, Spain Accession # 17.190. 33 Text from the Metropolitan Museum of Art label.

Ivory Icon with the Crucifixion Byzantine Carved mid-900s, probably in Constantinople Accession # 17.190.44 This unique icon shows Christ on the cross flanked by the mourning figures of the Virgin and Saint John. Below Christ's feet, in a scene bearing a Greek inscription, "The Division of the Cloak" are several Roman soldiers drawing lots for Christ's garment. A reclining figure pierced by the base of the cross- the only such image known- is identified by another inscription, "The cross implanted in the stomach of Hades." The inclusion of the figure of Hades emphasizes the Christian belief that through his suffering on the cross, Christ won a victory over death for all people. Text from the Metropolitan Museum of Art label.

Title: Ivory Plaque with the Crucifixion Date: ca. 1000 Geography: Carved in Cologne, Germany Culture: Ottonian Medium: Ivory with gilding, silver-gilt, champlevé enamel, glass and stone cabochon mount Dimensions: Overall: 5 1/4 x 4 9/16 x 11/16 in. (13.4 x 11.6 x 1.8 cm) Overall (Ivory): 1 5/8 x 1 1/8 x 3/8 in. (4.1 x 2.8 x 0.9 cm) Classification: Ivories Credit Line: Gift of J. Pierpont Morgan, 1917 Accession Number: 17.190.495a, b On View Description: This miniature ivory with the Virgin and Saint John on either side of the cross and personifications of the sun and moon above is probably from a book cover or reliquary. It closely corresponds to monumental crucifixes carved about the year 1000. Text from: www.metmuseum.org/Works_of_Art/collection_database/mediev...

The Crucifixion about 1525 Joos van Cleve, Flemish, active in 1511–died in 1540 or 1541 Dimensions: 80.4 x 63.2 cm (31 5/8 x 24 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 12.170 One of the leading artists in sixteenth-century Antwerp, Joos combined such stylized and decorative elements as the arabesque flutter of Christ's loincloth with naturalistic details, including the greenish pallor of Christ's flesh. The weighty fall of the Virgin's cloak emphasizes her restrained grief, while Saint John's drapery reflects his agitation. Rather than rendering such details as the tiny party departing from the scene less distinctly to show that they are far away, Joos used color to demarcate distance-brown for the foreground, green for the middle ground, and blue for the background. Text from: www.mfa.org/collections/object/the-crucifixion-31426

The Crucifixion about 1525 Joos van Cleve, Flemish, active in 1511–died in 1540 or 1541 Dimensions: 80.4 x 63.2 cm (31 5/8 x 24 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 12.170 One of the leading artists in sixteenth-century Antwerp, Joos combined such stylized and decorative elements as the arabesque flutter of Christ's loincloth with naturalistic details, including the greenish pallor of Christ's flesh. The weighty fall of the Virgin's cloak emphasizes her restrained grief, while Saint John's drapery reflects his agitation. Rather than rendering such details as the tiny party departing from the scene less distinctly to show that they are far away, Joos used color to demarcate distance-brown for the foreground, green for the middle ground, and blue for the background. Text from: www.mfa.org/collections/object/the-crucifixion-31426

The Crucifixion about 1525 Joos van Cleve, Flemish, active in 1511–died in 1540 or 1541 Dimensions: 80.4 x 63.2 cm (31 5/8 x 24 7/8 in.) Medium or Technique: Oil on panel Classification: Paintings Type: Religious - New Testament Accession Number: 12.170 One of the leading artists in sixteenth-century Antwerp, Joos combined such stylized and decorative elements as the arabesque flutter of Christ's loincloth with naturalistic details, including the greenish pallor of Christ's flesh. The weighty fall of the Virgin's cloak emphasizes her restrained grief, while Saint John's drapery reflects his agitation. Rather than rendering such details as the tiny party departing from the scene less distinctly to show that they are far away, Joos used color to demarcate distance-brown for the foreground, green for the middle ground, and blue for the background. Text from: www.mfa.org/collections/object/the-crucifixion-31426

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