AP®︎/College Art History
- Christianity, an introduction for the study of art history
- A New Pictorial Language: The Image in Early Medieval Art
- The life of Christ in medieval and Renaissance art
- Architecture and liturgy
- The audacity of Christian art: the problem with Christ | National Gallery
- The audacity of Christian art: Christ is not like a snail: Signs and symbols | National Gallery
- The audacity of Christian art: Putting God in His place: Here, everywhere, and nowhere | National Gallery
- The audacity of Christian art: Time and eternity: Yesterday, today, and always | National Gallery
- The audacity of Christian art: This world and the next: Christ on earth; Christ in heaven | National Gallery
- The audacity of Christian Art: So near and yet so far: Visions and thresholds | National Gallery
- The audacity of Christian art: Unspeakable images: When words fail | National Gallery
This video explores the audacity of Christian art, focusing on how symbols and signs are used to represent Christ. It discusses the evolution of Christian art, from the use of secret symbols like the fish, to bold, direct depictions of Christ. The video emphasizes the power of art in expressing religious beliefs.
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- I was a little disappointed that Dr. Reddaway missed explaining what I found to be the most obscure elements of the iconography of the painting--the peach above St. Francis and the cucumber(?) or gourd above St. Stebastian. Does anyone have an explanation for these items which are to me at least as obscure as the snail on which so much commentary is focused?(5 votes)
- They may be and apple and a cucumber. According to the Metropolitan Museum of Art's website, these fruits were used in another Crivelli painting called "The Madonna and Child" and the text indicates that "The apples and fly are symbols of sin and evil and are opposed to the cucumber and the goldfinch, symbols of redemption."
See: https://www.metmuseum.org/art/collection/search/436052(0 votes)