154. 罗塞塔，欧罗巴半岛/对30种不同媒体来源的观察和分析（2019年） by Andrés Felipe Castaño 高清作品[11%]

Serie Roseta, El rapto de Europa / Observation and analysis of 30 different media sources (2019)

材质 :Pastel on paper 尺寸 :130.4 × 89 × 1 cm Drawing, Collage or other Work on Paper

罗塞塔，欧罗巴半岛/对30种不同媒体来源的观察和分析（2019年）-安德烈斯·菲利佩·卡斯塔诺(Colombian, b. 1986)

英文名称:Serie Roseta, El rapto de Europa / Observation and analysis of 30 different media sources (2019)-Andrés Felipe Castaño

155. 受难记，1440-1441年`The Crucifixion, 1440-1441 by Jan van Eyck 高清作品[11%]

AF-The Crucifixion, 1440-1441

图片文件尺寸: 3895×11500 px

受难记，1440-1441年-简·范艾克先生

-Jan van Eyck (1390-1441) was a painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art.
The Crucifixion and Last Judgement diptych (or Diptych with Calvary and Last Judgement) consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil on panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
The left-hand wing depicts the Crucifixion. It shows Christ\'s followers grieving in the foreground, soldiers and spectators milling about in the mid-ground and a portrayal of three crucified bodies in the upper-ground. The scene is framed against an expansive and foreboding sky with a view of Jerusalem in the distance. The right-hand wing portrays scenes associated with the Last Judgement: a hellscape at its base, the resurrected awaiting judgement in the centre-ground, and a representation of Christ in Majesty flanked by a Great Deësis of saints, apostles, clergy, virgins and nobility in the upper section. Portions of the work contain Greek, Latin and Hebrew inscriptions. The original gilt frames contain Biblical passages in Latin drawn from the books of Isaiah, Deuteronomy and Revelation. According to a date written in Russian on their reverse, the panels were transferred to canvas supports in 1867.

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