The Disrobing of Christ Reading Comprehension

Total Page：16

File Type：pdf, Size：1020Kb

The Disrobing of Christ Reading Comprehension 1. The word disrobing (of Christ) in the text refers to... a) the killing (crucifixion) of Jesus Christ by the robbers b) getting his clothes taken off by the rabble c) the stealing of Christ’s money before his crucifixion 2. “His central position is emphasized by his serene upward gaze (...)” The meaning of serene in the sentence is ... a) sincere and cozy b) calm and untroubled c) worried and peaceful 3. In the same sentence, the meaning of gaze is ... a) a steady thoughtful look b) a fearful desperate look c) a short suprised look 4. How many persons, according to the text, are quarrelling on who is going to have Christ’s clothes? a) one b) two c) four 5. What is in sharp contrast in the painting? a) dark looks and violent movements of his executioners b) idealized beauty of Christ and rough features of his executioners c) rough features and violent movements of his executioners 6. “Longinus, the Roman centurion in charge, traditionally is venerated as a saint.” The meaning of the underlined word is ... a) honoured b) disrespected c) seen 7. “Longinus (...) pierced Christ's side with a lance (...).” What did he, in other words, do? a) He stabbed Christ with a spear. b) He robbed Christ with a spear. c) He disrobbed Christ with a spear. 8. One of the three Marys is Mary, Christ’s mother’s sister. T / F / DS 9. The dynamic quality of the scene is exquisitely enhanced by El Greco's use of colour. T / F / DS 10. Hieronymus Bosch painted the ugly caricatures of the faces in Christ carrying the Cross . T / F / DS 11. El Greco had problems with the law because of the Christ’s clothes in the painting. T / F / DS 12. The painting was made in one more copy without corrections. T / F / DS 13. The painting became popular only after El Greco died. T / F / DS 14. What would be the best summary of the last paragraph? a) El Greco received less money but won the trial. b) El Greco lost the trial but received the promised money. c) El Greco lost the trial and the money. 15. Which of the following persons is NOT presented in the painting at all? a) A black-clad figure pointing at Christ accusingly b) A yellow-clad figure drilling a hole in the cross c) A red-clad figure removing Christ's scarlet robe.

Copy Link

Recommended publications

722 Audrey Nicholls, Ed. This Special Issue of Studies Published Ten
722 Book Reviews Audrey Nicholls, ed. The Arts and Jesuit Influence in the Era of Catholic Reform. Special issue of Studies: An Irish Quarterly Review 104, no. 416 (Winter 2015/2016). Pp. 131. 10 euros. This special issue of Studies published ten papers originally given at a 2014 conference at the National Gallery of Ireland in conjunction with its paint- ing exhibition, Passion and Persuasion: Images of Baroque Saints. It is always difficult for anthology editors to devise a general title for their volume that is comprehensive, self-explanatory, and accurate. In this regard Nicholls’s title is not especially felicitous, specifically concerning the “Jesuit influence”: read- ers should be advised that of the ten essays, seven have nothing to do with Jesuit art, spirituality, or influence, and of those that do, the essay (by John W. O’Malley, S.J.) takes up the matter only in its second half. Nonetheless, even specialists in Jesuit studies will find this collection, on the whole, worthwhile reading: the essays here contained are brief but almost all of them deliver much by way of new data and new insight, both those written by eminent vet- eran scholars as well as those by younger ones. The first essay, “Counter Reformation Countenances: Catholic Art and Attitude from Caravaggio to Rubens” by John Gash covers an extremely broad range of topics (though chronologically narrowly focused) in just twelve pages. The essay defies summary in the space of a short review so I simply borrow his opening statement: “By Counter-Reformation counte- nances, I mean three things: the portraits […] both of the leading figures in the movement and of some of the artists who enunciated Counter-Ref- ormation dogma in paint or stone; the concrete face of that ideology in terms of the works of art produced to reinforce it; and the shifting con- tours of Catholic faith, as it navigated its responses to the Lutheran and Calvinist challenges” (373).
[Show full text]
Issue 5 • Winter 2021 5 Winter 2021
Issue 5 • Winter 2021 5 winter 2021 Journal of the school of arts and humanities and the edith o'donnell institute of art history at the university of texas at dallas Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 185 11/6/20 1:24 PM 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM 1 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 1 11/6/20 1:23 PM This issue of Athenaeum Review is made possible by a generous gift from Karen and Howard Weiner in memory of Richard R. Brettell. 2 Athenaeum Review_Issue 5_FINAL_11.04.2020.indd 2 11/6/20 1:23 PM Athenaeum Review Athenaeum Review publishes essays, reviews, Issue 5 and interviews by leading scholars in the arts and Winter 2021 humanities. Devoting serious critical attention to the arts in Dallas and Fort Worth, we also consider books and ideas of national and international significance. Editorial Board Nils Roemer, Interim Dean of the School of Athenaeum Review is a publication of the School of Arts Arts and Humanities, Director of the Ackerman and Humanities and the Edith O’Donnell Institute of Center for Holocaust Studies and Stan and Art History at the University of Texas at Dallas. Barbara Rabin Professor in Holocaust Studies School of Arts and Humanities Dennis M. Kratz, Senior Associate Provost, Founding The University of Texas at Dallas Director of the Center for Asian Studies, and Ignacy 800 West Campbell Rd. JO 31 and Celia Rockover Professor of the Humanities Richardson, TX 75080-3021 Michael Thomas, Director of the Edith O’Donnell Institute of Art History and Edith O’Donnell [email protected] Distinguished University Chair in Art History athenaeumreview.org Richard R.
[Show full text]
Great Artist 003.Cdr
National Gallery of Modern Art, Bengaluru Ministry of Culture, Government of India presents a ﬁlm festival on G r e a t rd 3 series ArtistS B i o g r a p h y at the Auditorium, National Gallery of Modern Art , # 49, Palace Road, Bengaluru - 560052 Telephone: 080 2234 2338, e-mail: [email protected] Saturday 15th February 2014 at 3.00 p.m. and Sunday 16th February 2014 at 11.00 a.m. | El Greco | Giotto Di Bondone | | Turner | Vincent Van Gogh | El Greco (1541-1614) The paintings of the artist El Greco are among the most distinctive works of the early modern period. His paintings marked a radical departure from the naturalism and careful modelling of the Renaissance, and as result were ignored for close to 300 years. Domenicos Theotocopolous, dubbed by the Spaniards ‘El Greco’, was born in the Greek Island of Crete and was trained to paint in the Byzantine style. After spending some time in Venice and Rome, El Greco adopted the Spanish city of Toledo as his home. Throughout the course of his artistic career El Greco’s style varied enormously. In Italy his paintings reﬂected the bright colouring and the loose brush strokes of the Venetian masters, such as Tintoretto, whilst in Spain the fervour of religious belief and lingering medieval sensibilities added an emotional intensity and deep sense of almost mystical spiritualism to his work. The result was a highly individualistic style of painting. Though criticised by many, El Greco’s dramatic style paved the way for the Baroque and later, in the 20th century, contributed to the development of Expressionism.
[Show full text]
Giovannino Battista: the Boy Baptist in Quattrocento Italian
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright San Giovannino: The Boy Baptist in Quattrocento Italian Art Georgina Sybella Macneil, 28 August 2013 Thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy (Ph.D.) Department of Art History and Film Studies, University of Sydney, Australia Abstract This thesis explores the imagery of the young John the Baptist in Renaissance art. The phenomenon of John’s juvenescence has been noted but insufficiently explored by previous scholarship.
[Show full text]
El Greco Y El Escorial. De Felipe Ii a Felipe Iv
Recibido en: 18/04/2016 Aceptado en: 16/09/2016 EL GRECO Y EL ESCORIAL. DE FELIPE II A FELIPE IV EL GRECO AND THE ESCORIAL. FROM PHILIP II TO PHILIP IV AGUSTÍN BUSTAMANTE GARCÍA Universidad Autónoma de Madrid Resumen En 1577 El Greco llegó a España y consiguió en Toledo dos encargos, El Expolio para la Catedral y las pinturas para la capilla mayor de Santo Domingo el Antiguo, que le llevaron a la fama; en 1580 estaba al servicio de Felipe II, pintando el cuadro del Martirio de San Mauricio para la Basílica del Escorial. No agradó al Rey, que lo adquirió, pero nunca lo colocó en el templo. El cuadro causó una gran polémica, que recoge fray José de Sigüenza. Cuando Felipe IV renovó la decoración del Escorial, en las nuevas colecciones excepcionales que colocó, sólo hay obras de dos pintores españoles: José Ribera y El Greco con tres cuadros: la Gloria de Felipe II, San Pedro y San Ildefonso. En pleno siglo XVII, El Greco seguía siendo un pintor excepcional. Palabras clave Pintura española. Siglos XVI-XVII. El Greco. El Escorial. Felipe II. Felipe IV. Velázquez. Fray José de Sigüenza. Fray Francisco de los Santos. Abstract In 1577 El Greco arrived to Spain; in Toledo he was commissioned to paint two works: the Disrobing of Christ for the Cathedral and the altarpieces ofr the church of the con- vent of Santo Domingo el Antiguo, these two paintings came him to be famous. In 1580, Philip II commisioned him a painting of the Martyrdom of Saint Maurice for the church of the monastery of El Escorial.
[Show full text]
LOCATING El GRECO in LATE SIXTEENTH-CENTURY
View metadata, citation and similarbroughtCORE papers to you at by core.ac.uk provided by Online Repository of Birkbeck Institutional Theses LOCATING El GRECO IN LATE SIXTEENTH‐CENTURY ROME: ART and LEARNING, RIVALRY and PATRONAGE Ioanna Goniotaki Department of History of Art, School of Arts Birkbeck College, University of London Submitted for the degree of Doctor of Philosophy, July 2017 -1- Signed declaration I declare that the work presented in the thesis is my own Ioanna Goniotaki -2- ABSTRACT Much has been written about the artistic output of Domenicos Theotocopoulos during his time in Spain, but few scholars have examined his works in Venice and even fewer have looked at the years he spent in Rome. This may be in part attributed to the lack of firm documentary evidence regarding his activities there and to the small corpus of works that survive from his Italian period, many of which are furthermore controversial. The present study focuses on Domenicos’ Roman years and questions the traditional notion that he was a spiritual painter who served the principles of the Counter Reformation. To support such a view I have looked critically at the Counter Reformation, which I consider more as an amalgam of diverse and competitive institutions and less as an austere movement that strangled the freedom of artistic expression. I contend, moreover, that Domenicos’ acquaintance with Cardinal Alessandro Farnese’s librarian, Fulvio Orsini, was seminal for the artist, not only because it brought him into closer contact with Rome’s most refined circles, but principally because it helped Domenicos to assume the persona of ‘pictor doctus’, the learned artist, following the example of another of Fulvio’s friends, Pirro Ligorio.
[Show full text]
El Greco's Saint Francisat the Bilbao Fine Arts Museum
El Greco’s Saint Francis at the Bilbao Fine Arts Museum Ana Sánchez-Lassa de los Santos José Luis Merino Gorospe This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Archivo del Instituto Valencia de Don Juan, Madrid: fig. 2 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 3, 4 and 10-25 © Fine Arts Museum of San Francisco. Donated by Samuel H. Kress Foundation: fig. 5 © Meadows Museum, Southern Methodist University, Dallas. Museum Purchase. Meadows Acquisition Fund with private donations and University funds: fig. 8 © Museo Diocesano de Arte Sacro, Vitoria-Gasteiz. Depósito de la Diputación Foral de Álava: fig. 9 © RMN-Grand Palais / Jacques Quecq d’Henripret: fig. 7 © The Art Institute of Chicago: fig. 6 Text published in: Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 8, 2014, pp. 111-157. Sponsor: aint Francis in Prayer Before the Crucifix, by El Greco [fig.
[Show full text]
16Th and 17Th Century Spain
16th and 17th century Spain 01a Apse of Sant Climent de Taüll, a fresco from Church of St. Climent de Taüll The rooms of the Museu Nacional d'Art de Catalunya also feature a particularly outstanding example of European Romanesque art: the remarkable, original and extraordinarily expressive paintin1gs from the Apse of Sant Climent de Taüll, including the famous Pantocrator or Christ in Majesty, an undisputed masterpiece from the 12th century that forms tangibleevidence of the creative power of Catalan painting. -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- Luis de Morales (1510?-1586) 02 Pieta 1516. The most popular Spanish painter of the early 17th Century, called by his contemporaries "The Divine", because of the religious intensity of his paintings. From the Renaissance he also frequently used sfumato modeling, and simple compositions, but combined them with Flemish style precision of details. His subjects included many devotional images, including the Virgin and Child. ------------------------------------------------------------------------------------------------------------------------------ El Greco Self Portrait 1595-1600 Doménikos Theotokópoulos (1541 – 1614), most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death.
[Show full text]
El Greco's Espolio
Introibo ad Altare Dei: El Greco’s ‘Espolio’ in the Context of Church and State in Post-Tridentine Spain By ROBERT FRANCIS SWAIN A thesis submitted to the Department of Art in conformity with the requirements for the degree of Master of Arts Queen’s University Kingston Ontario Canada August, 2011 Copyright © Robert Francis Swain, 2011 Abstract In the vestry of the cathedral church of Santa Maria in Toledo hangs a large painting by El Greco entitled El Espolio, the ‘Disrobing of Christ’. Executed shortly after his arrival in Spain the painting marks a major stylistic departure from the artist’s earlier work and would command attention on that basis alone. The subject, while iconographically obscure, is, at another remove, utterly familiar as a Passion scene tied to a well known iconographical canon. Compositionally, the Christ figure predominates but the ‘legionnaire’ occupies a contrasting and almost equivalent space in his carapace of steel. These figures beg for further elaboration I will argue that this painting can be read as a nexus between a reformed liturgy and a post-Tridentine programme of Church renewal in Spain allied to a monarchical programme of nación under Philip II (1527-98) that was essentially one and the same. The salient questions needing a response are these: How, in a vestry, can we expect such a subject to have much impact beyond the very limited audience it was designed for? This is the crux of the matter in many ways. What in the painting suggests more than the straightforward analysis of the subject matter? What in the times suggests another reading of this great work of art? The pursuit of the answers to these questions constitutes the driving force behind this investigation.
[Show full text]
This Dissertation Considers How a New Approach to Understanding Historic Collections Will Be Able to Provide Fresh Perspectives
ABSTRACT Title of Dissertation: THE PHENOMENAL LIVES OF MOVABLE CHRIST SCULPTURES Tanya A. Jung, Doctor of Philosophy, 2006 Dissertation directed by: Professor Meredith Gill Department of Art History and Archaeology This dissertation deals with a fascinating and understudied group of free-standing Christ sculptures that were moved in imitation of Christ during the dramatic observances of late medieval Holy Week. They adhere to general iconographic formulas, but stand apart from other depictions of Christ in one important respect—they were elaborately kinetic. Congregations animated these images in a variety of ways, from basic manual operation in processions and elevations to the manipulation of fitted joints, wheels, hand cranks, and elevation apparatuses. Scholars who study movable Christ sculptures use them as evidence for liturgical and para-liturgical observances recorded in written texts, they approach them as aesthetic objects or as objects of folk tradition, and they discuss their place in the development of medieval sculpture and architectural space. I argue, however, that these images have more meanings to offer. Accordingly, these meanings are available when we consider not only their material and symbolic forms and their performative functions, but also their shifting cultural locations in medieval and modern Europe. Movable Christ sculptures were edifying and sacred images, disconcerting idols, homely folk objects, and works of art. My aim in this dissertation is to write a cultural biography of the lives of these images—in other words, a history that can account for the varied connotations of movable Christ sculptures in different instances of practice, reception, and response. It is my contention that these images, because of their performative function, experiential qualities, mimetic form, relatively anonymity, and “thingness,” present an ideal opportunity to exercise cultural biography from an art historical perspective.
[Show full text]
The Genius of El Greco by J
1 The Genius of El Greco By J. CARTER BROWN DIRECTOR, NATIONAL GALLERY OF ART National Geographic, June 1982 FOR SOME 250 YEARS after his death, Domenikos Theotokopoulos (El Greco) was regarded as an extravagant, even mad, painter who deserved little more than a footnote in history. In 1724 the Spanish artist Antonio Palomino dismissed El Greco's late work as "contemptible and ridiculous, as much for the disjointed drawing as for the unpleasant color." Not until the mid-19th century did anyone take a second look at the "disjointed" work. In El Greco's daring perspective, distortions, and audacious use of light and color, artists and critics found reinforcement for their own artistic ideas. For European Romantics and Expressionists, and for us today, El Greco is one of the great prophets of modern art. He was one of the first artists with whose work I fell in love. Many have grappled to understand the complexities of El Greco's work, creating theories that have persisted to this day but that have little basis in fact. Some have seen him as a mystic or believe his distorted figures are due to faulty vision. Still others claim he used the inmates of insane asylums as models. Haunting tribute to his adopted city, El Greco’s “View of Toledo” (circa 1600) raises the question: Why here, in this unfamiliar setting, did the struggling Greek artist suddenly unleash the full power of his creative genius? A central purpose of the first major international exhibition of El Greco's work, which will open in the United States next month at the National Gallery of Art, is to unravel some of these myths.
[Show full text]
Iconography: a Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama
Western Michigan University ScholarWorks at WMU Early Drama, Art, and Music Medieval Institute 2002 Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Clifford Davidson Follow this and additional works at: https://scholarworks.wmich.edu/early_drama Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Medieval Studies Commons, Musicology Commons, and the Theatre History Commons WMU ScholarWorks Citation Davidson, Clifford, "Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama" (2002). Early Drama, Art, and Music. 3. https://scholarworks.wmich.edu/early_drama/3 This Bibliography is brought to you for free and open access by the Medieval Institute at ScholarWorks at WMU. It has been accepted for inclusion in Early Drama, Art, and Music by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Iconography: A Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Compiled by Clifford Davidson Early Drama, Art, and Music Checklists Contents Preface 5-6 PART I: ICONOGAPHY 6-163 Iconography: Various Topics 6 Ages of Man 6 Allegory 7 Animals and Birds 8 Arbor Bonae and Arbor Mala; Trees of Life; Garden 11 Astrology/Signs 12 Castle of Virtue/Siege 12 Church-Synagogue 12 Cokaigne 13 Colors and Color Symbolism 13 Creed and Pater Noster 13 Daughters of God 14 Deadly Sins and Corresponding Virtues 15 Death 19 Fool 24 Davidson, Iconography: A Checklist 1 Fortune 25 Fountain of Life 25 Green Man 26 Grotesque 26 Husband-Wife/Erotic Women 26 Mirrors 27 Months and Seasons 27 Music 28 Nature 37 Pilgrimage 37 Plants 38 Romance 38 Royal 39 Senses/Memory 39 Seven Sacraments 40 Sponsus/Sponsa 41 Time 41 Wild Men/Satyrs 42 Miscellaneous Topics 42 Biblical Iconography 45 Fall of Lucifer 45 Hell 46 Old Testament Topics 48 Fall/Adam and Eve 50 Cain and Abel 52 Flood 54 Patriarchs and Prophets 55 Song of Songs 59 Blessed Virgin Mary 59 St.
[Show full text]