Hallowed Be Thy Name - Erik Lakus

This gallery is a collection of some of the greatest depictions of Jesus of Nazareth. All the items in this collections are paintings that were created during the Renaissance Era. 

Saint Joseph and the Boy Jesus (San José y el Niño Jesús), Vicente Berdusán, c. 1670, From the collection of: Museo de Zaragoza
This painting depicts Saint Joseph with Jesus as a child, both of whom are standing below what appears to be heaven and God. This particular painting has more faded, low-value colors, although this may be due to natural wear over time. As a result, it also has relatively low levels of contrast compared to other paintings of this time.
Madonna of the Rosary, Michelangelo Merisi, called Caravaggio, 1605/1607, From the collection of: Kunsthistorisches Museum Wien
This painting is also of Jesus, although it may not be immediately apparent because he is just a child. He is being held by the Madonna, who is ordering around the various saints in this scene. There is an excellent use of contrast between the pale skin of the people and the dark background. Also noteworthy are the well-defined yet organic shapes that are common of paintings in this era.
Christ Cleansing the Temple, Bernardino Mei, about 1655, From the collection of: The J. Paul Getty Museum
Here, we see Jesus as he is more commonly depicted: A robed adult with long, brown hair and a full beard. Less common, however, is how he is shown here as angry, lashing out at peddlers in the Temple of Jerusalem with a whip. Use of lines, both hard and soft, make for incredible detail and realism in this painting. This is most noticeable on the shriveled, aged face of the older woman standing directly in front of Jesus.
Virgin and Child in Glory, Bartolomé Esteban Murillo, About 1673, From the collection of: Walker Art Gallery, Liverpool
In this painting, we see Jesus as a child once again, except this time he is being held by his mother, the Virgin Mary. The warm background invokes feelings of warmth, tenderness and even royalty. balance is an integral part of the piece, with Mary and Jesus being placed in the center while surrounded equally on all sides by angels.
The Heart of Jesus, Juan Patricio Morlete Ruiz, 1759, From the collection of: Museo Nacional de Arte
This piece is unique in that rather than showing Jesus himself, he is symbolically represented by the heart with a cross and thorns. Various figures look on to this heart. Some appear to be standing next to the heart while others are framed as if they are actually in another location. Obviously, great emphasis is placed on the heart, as it is the brightest element of the painting and placed directly in the center.
Christ on the whipping-post, Unknown, follower of Miguel de Santiago, 1740/1760, From the collection of: Museo de Artes Universidad de los Andes
Surprisingly violent, this painting of Jesus shows him being whipped and tortured, with various angels and Mary in the same room as him. The texture of his blood on his back and dripping on the floor is surprisingly realistic. It looks as though the paint used for it was deliberately dripped onto the canvas, making it look as though it was running down Jesus' back.
Christ on the Cross with Saints Mary, John the Evangelist, and Catherine of Siena, Marco Pino, about 1570, From the collection of: The J. Paul Getty Museum
Here is a piece showing Jesus in one of his most iconic forms. He is nailed to the cross as a reference to the Bible story in which the same thing happens. This piece is another great instance of balance, with two people, presumably Mary and Joseph, standing between the Crucifix. This gives more emphasis to Jesus and attracts the eye to him. The use of jagged, straight lines add realism to the look of the crown of thorns and the cross.
Ecce Homo, Andrea Solario, 1505 - 1506, From the collection of: Museo Poldi Pezzoli
Here we see a look at a beaten Christ who is also tied up at the wrists. He is also slightly bloodied from the crown of thorns, another more subtle reference to his crucifixion. There is once again a great use of contrast between himself and the black background. This is certainly the kind of painting that pops out from such contrast.
Pala Priuli, Giovanni Bellini and studio, 1505 - 1510, From the collection of: Kunstpalast
Here is another painting of baby Jesus and Mother Mary. This time they are framed between other figures who seem to be looking onto them in interest. Although it's more subtle, there is use of three-dimensional space in this painting. It's hard to tell because of Mary and the throne she sits on is straight ahead towards the viewer, but looking at the tile floor on the left side, there is evidence of perspective. More obvious is how the men in the back row on each side stand shorter than the ones in front.
The Naming of Jesus / Circumcision, Unknown, ca.1633, From the collection of: Museu de São Roque
Here is one of the more complicated and detailed paintings. Here we see an infant Jesus during his circumcision in a temple. Many people are gathered here for what appears to be a very special event. There are many formal elements and principles of design at work to enhance this painting. For one, there is a surprising variety of color. The color combined with the contrast-that is, how Mary and Jesus are the brightest elements besides the insignia at the top-draws attention to them despite not being in the spacial center of the painting. There is also a semblance of balance and symmetry between the temple itself and the way everyone is situated within it.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Google apps