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Lesson 5: Christianity- Christianity, an introduction for the study of art history
- The Christian Bible
- A New Pictorial Language: The Image in Early Medieval Art
- The lives of Christ and the Virgin in Byzantine art
- The life of Christ in medieval and Renaissance art
- How to recognize the Four Evangelists
- How to recognize saints
- 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
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The audacity of Christian art: This world and the next: Christ on earth; Christ in heaven | National Gallery
This episode explores three popular picture types which have no gospel basis but which use temporal and spatial ambiguity to reflect on the mystery of Christ having a temporal life on earth, and also being part of the eternal Trinity. The principal paintings discussed in this episode are ‘The Virgin and Child in a Landscape’ by Jan Provoost (early 16th century), ‘The Virgin and Child Enthroned by Cosimo Tura’ (mid-1470s), and ‘Christ Crowned with Thorns’ by Dirk Bouts (about 1470).
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Our understanding of things has, in the past 200 years, been reduced to what is captured by a camera in the blink of a shutter. These paintings seem to ignore the passage of time, and layer one time's features upon another, enriching our understanding through story telling. OK, this is Renaisance stuff. Is later art of any sort similarly built up on "temporal layers" to tell stories?(6 votes)