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The representations of Christ they created were profoundly influenced by individual artists' attitudes toward religion, history, and society. In a letter of to Vincent van Gogh, Gauguin had explained that in The Vision of the Sermon National Gallery of Scotland, Edinburgh "the landscape and the wrestling [of Jacob with the angel] exist only in the imagination of the praying people as a result of the sermon. In order to look at them fairly, we have to understand what they hoped to achieve in their art and what directions in the art of their time they sought to oppose. He defended public exhibitions and public criticism of art because he saw in them a counterweight to the influence of the market. Luke, to combat the modern transformation of art into a commodity to be enjoyed and displayed by private individuals in their homes or put up for sale in galleries. Thames and Hudson, , p. John, with which Pilate cuts short Christ's account of his mission in the name of truth:

Volume 11 Issue 17 (2016)

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Nonesuch Press, , p. Even among art historians, only a few have much familiarity with their work. Ne vaudrait-il pas mieux le cacher un peu; est-il bien de regarder ainsi la naissance! The critic Alexei Suvorin believed that Pilate was shown in an unfair light by Ghe and was presented as the one solely responsible for Christ's death. There was something mathematical in his effort after dry correctness and erudite accuracy.

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The title of the painting refers to the words in the Gospel of St. The second volume, published in , bore the revised title: Even the pedestals on which…statues rest are drawn as rectangles, not cubes, so that no suggestion of depth may intrude…. Cette langue est bizarre et donne plusieurs sens. Mikhailovki described Ghe's Christ as "excellently painted," but likewise had difficulty recognizing the Savior of the Bible in this figure. The jury did not do anything.
Kleine Schriften zur Geschichte der Kunst des Altertums , ed. It shows a striking similarity with the tortuous and despairing theology that Fedor Mikhailovich Dostoevski puts into the mouth of his character Kirillov in his novel Besy of English translations under the titles Devils and The Possessed. Yekaterina Fedorovna Yunge, Vospominaniya o N. To Schlegel's younger contemporary, the Hegelian art historian Carl Schnaase, the same combination of autonomy and association was the supreme characteristic of Greek art and culture: As reported in Tim Holton, John Ruskin: Heinemann, ; reprint, New York: We hope that our authors will think carefully about opportunities that could enrich their articles and add value and interest to Nineteenth-Century Art Worldwide.
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