152. 奇怪的仇恨三角。欧洲、非洲和美洲之间的三角贸易地图。或者,所有东西的价格都不是真正有价值的东西。(2020年) by Umar Rashid (Frohawk Two Feathers) 高清作品[13%]

Bizarre Hate Triangle. A map of the triangular trade between Europe, Africa, and the Americas. Or, nothing of real value is the price for everything. (2020) | Available for Sale

材质 :Acrylic and ink on canvas 尺寸 :36 × 36 cm Painting

奇怪的仇恨三角。欧洲、非洲和美洲之间的三角贸易地图。或者,所有东西的价格都不是真正有价值的东西。(2020年)-乌马尔·拉希德(两根羽毛)

英文名称:Bizarre Hate Triangle. A map of the triangular trade between Europe, Africa, and the Americas. Or, nothing of real value is the price for everything. (2020) | Available for Sale-Umar Rashid (Frohawk Two Feathers)

153. 受难,1440-1441年`The Crucifixion, 1440-1441 by Jan van Eyck 高清作品[13%]

AF-The Crucifixion, 1440-1441

图片文件尺寸: 3895×11500 px

受难,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.