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Zusammenfassung
Identifier: rembrandthislife01mich (find matches)
Title: Rembrandt, his life, his work and his time
Year: 1894 (1890s)
Authors: Michel, Emile, 1828-1909 Simmonds, Florence Wedmore, Frederick, Sir, 1844-1921
Subjects: Rembrandt Hermanszoon van Rijn, 1606-1669
Publisher: London : W. Heinemann
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
Text Appearing Before Image:
nished picture of this epoch, and one of the best preserved. In execution and in the treatment of architecture it has marked analogies with the St. Anastasius, which no doubt preceded it. But the contrasts are franker, the colour less restrained, the light more concentrated. The theme is a familiar one. In the centre of ^^^ a temple with gigantic columns, the Virgin and (SxLs/viJ St. Joseph make their offering, and present the rembrandts new-born Child before the Lord. Devoutly kneeling MONOGRAM. . in 1 11 1 T r on the paved floor, they gaze tenderly at the Infantin the arms of Simeon, also on his knees beside them. Aroundthem are the Prophetess Anna and other persons, and in frontstands the High Priest, robed in a long violet cope, and 1 The panel in its original state was not semi-circular at the top, as at present. Apiece was added to make it match a picture by Gerard Dou, The Young Mother, alsobelonging to the Mauritshuis. » The Presentation in the Temple (/6j/j. (HAGUE MLblilM.)
Text Appearing After Image:
THE PRESENTATION IN THE TEMPLE 67 holding up his hands, as if in ecstasy at the scene. In theshadow of the steps that lead up to the sanctuary is a crowd ofworshippers, spectators, and armed men. In the foreground to theright sit the doctors of the law, observant of the group. Theimpression is striking, even at a first glance, and becomes im-measurably stronger on closer examination, for everything combinesto re-inforce the effect—notably the distribution of the light, thebrilliant sunshine falling in strong relief on the main group, focused asit were on the radiant little face of the Infant Jesus—the vastproportions and majestic structure of the temple—the mysteriousgloom, through which an uncertain light gleams here and there on thegilded capitals, on the decorations of the sacred vessels, and on thearmour of the men of war ranged on the steps. Oriental buildings, as depicted by Rembrandts forerunners, werearchitectural monuments of a ponderous or grotesque type. In manyinstan
The Presentation in the Temple, also known as the Purification of the Virgin or the Meeting of the Lord, is a scene from the New Testament that depicts the presentation of the baby Jesus in the Temple in Jerusalem. According to the Gospel of Luke, Mary and Joseph brought Jesus to the Temple to fulfill the requirements of Jewish law, which mandated that a mother who had given birth to a male child must undergo a period of purification before being allowed to reenter the community. At the Temple, they encountered two elderly prophets, Simeon and Anna, who recognized Jesus as the Messiah and praised God for his arrival.
The Presentation in the Temple is significant in several ways. It highlights the obedience of Mary and Joseph to the laws and traditions of their faith, and underscores their commitment to raising Jesus as a faithful Jew. It also foreshadows the role that Jesus would play as a teacher and leader, as Simeon and Anna recognized him as the Messiah and praised God for his arrival.
The scene is often depicted as a peaceful and contemplative moment, with Mary and Joseph holding the baby Jesus, while Simeon and Anna look on with awe and wonder. The imagery of the Presentation in the Temple is often used to evoke themes of obedience, devotion, and recognition of the divine presence in the world.
The image of Mary holding the Christ Child is a common depiction in Christian art and is known as the "Madonna and Child." It represents the mother of Jesus and her son and is a symbol of motherhood, love, and compassion.
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.