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Klaus Carl - Virgin Portraits

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Klaus Carl Virgin Portraits
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With the passing of time, Mary gradually lost some of her spiritual characteristics and became more mortal and accessible to human sentiments. Virgin Portraits illuminates this evolution and contains impressive works by Michelangelo, Caravaggio, Rubens, Fouquet, Dal, and Kahlo.

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Baseline Co Ltd.

61A-63A Vo Van Tan Street

th floor

District 3, Ho Chi Minh City

Vietnam

ISBN: 978-1-78160-951-4

Confidential Concepts, worldwide, USA

Parkstone Press International, New York, USA

Banco de Mxico Diego Rivera & Frida Kahlo Museums Trust.

Estate Kingdom of Spain, Gala-Salvador Dali Foundation / Artists Rights Society, New York, USA/VEGAP

Alice Neel Estate

All rights reserved

No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyrights on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case we would appreciate notification.

Foreword

During the Renaissance, Italian painters would traditionally depict the wives of their patrons as Madonnas. The artists would often overstate the beauty of their models, rendering them more beautiful than they actually were. The contemporary representation of the Mother of Christ, however, tended to remain unchanged. With the passing of time, Mary gradually lost some of her spiritual characteristics and became more humane, more accessible to human sentiments.

The Crowned Virgin Jean-Auguste-Dominique Ingres 1859 oil on canvas 69 x - photo 1

The Crowned Virgin


Jean-Auguste-Dominique Ingres, 1859

oil on canvas, 69 x 50 cm. Tamenago Gallery, Tokyo

Contents

The image of the Madonna has been embedded in the arts of the Western World for - photo 2

The image of the Madonna has been embedded in the arts of the Western World for - photo 3

The image of the Madonna has been embedded in the arts of the Western World for nearly two thousand years. She embodies the purest form of unconditional love and is perceived as the compassionate and forgiving nurturer of all Christian people. The Madonna is also seen as the loving mother, and the protector of all humanity.

Mary with the Child Jesus between Constantine and Justinian

Anonymous, Xth century

lunette mosaic

Hagia Sophia, Constantinople (Istanbul)

Her followers believe that only she can fully understand human grief passions - photo 4

Her followers believe that only she can fully understand human grief passions - photo 5

Her followers believe that only she can fully understand human grief, passions and happiness; she forgives, mediates, and consoles, and she is the connection between human beings and their God. She has been venerated as the Queen of Heaven, the Mother of All, and as the embodiment of compassion.

The Virgin of Vladimir

Anonymous, XIIth century

tempera on wood, 78 x 55 cm

Tretiakov Gallery, Moscow

She is seen as selfless humble and caring and represents the feminine - photo 6

She is seen as selfless humble and caring and represents the feminine - photo 7

She is seen as selfless, humble, and caring, and represents the feminine spirituality within Christianity. For many centuries the Madonna has inspired thousands of artists who laboured innumerable hours creating her images using different styles, materials, and techniques.

Rucellai Madonna


Duccio di Buoninsegna, 1285

tempera on wood, 450 x 290 cm

Uffizi, Florence

This huge body of artwork a cultural legacy of major proportions represents a - photo 8

This huge body of artwork a cultural legacy of major proportions represents a - photo 9

This huge body of artwork, a cultural legacy of major proportions, represents a social system that still dominates the world. Art museums, galleries, palaces and private collections are filled with her icons. Through the centuries, images of the Virgin were created according to the religious interpretations of beliefs, myths, iconography and symbolism prevalent at the time.

Madonna of Mercy


Simone Martini, 1308-1310

tempera on wood, 154 x 84 cm

Pinacoteca Nazionale, Siena

The presence of Mary in the heart of Western civilization has a long - photo 10

The presence of Mary in the heart of Western civilization has a long - photo 11

The presence of Mary in the heart of Western civilization has a long theological history of transformation. Scholars concur that during early Christianity there were other paramount feminine faces of spirituality, such as Sophia, who was understood to be the feminine aspect of the complex Christian God.

The Annunciation, with Saints Ansanus and Margaret and Four Prophets


Simone Martini and Lippo Memmi, 1333

tempera on wood, 184 x 210 cm

Uffizi, Florence

Hagia Sophia represented the Divine Wisdom and was celebrated as a co-creator - photo 12

Hagia Sophia represented the Divine Wisdom and was celebrated as a co-creator - photo 13

Hagia Sophia represented the Divine Wisdom and was celebrated as a co-creator, together with the Father, the Son and the Holy Spirit. At the beginning of Christianity, particularly in Eastern Europe, the Holy Ghost was understood as female. Yet, it usually was Sophia who was celebrated as the feminine aspect of the divine.

The Virgin and Child


Lorenzo Veneziano, 1356-1372

painting on wood, 126 x 56 cm

The Louvre, Paris

As Sophias popularity among the dogma-generating clergy waned the popularity - photo 14

As Sophias popularity among the dogma-generating clergy waned the popularity - photo 15

As Sophias popularity among the dogma-generating clergy waned, the popularity of the Virgin Mary, the Mother of God, gradually increased.

During the sixth century, the presence of the Mother of God was reaffirmed within the Christian religious dogma all over Europe, including the Byzantine Empire.

Madonna and Child


Luca Signorelli, c.1390

oil on wood, 170 x 117.5 cm

Uffizi, Florence

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