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Captions. Typisch für Caravaggio ist die Verwendung des Lichteinfalls als dramatisches Element (Chiaroscuro). Der stehende Wirt beobachtet die Szene, zeigt aber wenig Emotionen. Authors; Authors and affiliations; Ernst Van De Wetering; Chapter. Rembrandt. However, from the gospel accounts it is evident that Christ himself eschewed the sensational, first showing himself after his resurrection in the guise of a gardener to Mary Magdalene. Rembrandt van Rijn, The Supper at Emmaus, 1629, oil on paper, 39 x 42 cm. © Art Fund 2019. 1648, Öl auf Holz, Paris, Louvre, (eine klassische Darstellung, mit Strahlenkranz um Jesus Gesicht. Though no one saw it occur, artists have been drawn to its melodramatic potential, as was Rembrandt in one of a series on the Passion of Christ, made ca. Art Fund aims to improve the services we offer. date QS:P,+1650-00-00T00:00:00Z/7,P1319,+1625-00-00T00:00:00Z/9,P1326,+1669-00-00T00:00:00Z/9,P1480,Q5727902, medium QS:P186,Q296955;P186,Q287,P518,Q861259, dimensions QS:P2048,37.4U174728;P2049,42.3U174728, date QS:P,+1912-00-00T00:00:00Z/7,P1326,+1912-00-00T00:00:00Z/9, date QS:P,+1628-00-00T00:00:00Z/9,P1480,Q5727902, medium QS:P186,Q296955;P186,Q12321255,P518,Q861259, date QS:P,+1629-00-00T00:00:00Z/9,P1480,Q5727902, medium QS:P186,Q296955;P186,Q11472,P518,Q861259. Rubens' portrait of Thomas Howard, 2nd Earl of Arundel dates from about 1629. One disciple recoils in alarm, while the other, either terrified out of his mind or overcome with adoration, bows down at Christ's feet; this figure, whose back is below the level of the table, is so deeply immersed in shadow as to be scarcely visible in reproductions of the painting. August 2020 um 15:57 Uhr bearbeitet. Data successfully added to your Wish List ! Ter herdenking van de geboorte van Rembrandt op 15 juli 1606, Rijksmuseum, Amsterdam, 18 May 1956 – 5 August 1956, Museum Boijmans Van Beuningen, Rotterdam, 8 August 1956 – 21 October 1956, OCLC 15659340, cat.no. Catalogue number: Bredius 539. Rembrandt painted the Supper at Emmaus twice: both treat the wonder of Christ’s resurrection indirectly, but the contrast between them is telling. Dimensions: 37 x 42 cm. Wie in der Perspektive der Hände Lukas' ist auch hier die Bildlogik außer Kraft gesetzt – der Wirt müsste, wie die Gegenstände auf dem Tisch, einen Schlagschatten nach rechts werfen und damit Jesus verdunkeln. Musée du Louvre, Paris, France. 100% hand-painted oil painting on artist grade canvas. It is also worth noting that the face of Rembrandt’s Christ departed from all historical precedents or idealized representations for depicting Christ and instead was based on studies he had made of an ordinary Jewish young man in Amsterdam. shipping. no. Die dem Bild zugrundeliegende Geschichte stammt aus dem Lukas-Evangelium und findet am Tag nach Christi Auferstehung statt. According to the account in Luke 24:13-35 they then said to each other, ‘Did not our hearts burn within us while he talked to us on the road, while he opened to us the Scriptures?’ (v 32). Web Gallery of Art, image collection, virtual museum, searchable database of European fine arts (1000-1850), ‘Supper at Emmaus’, by Titian | Artwork of the Month, Rembrandt. They enable you to move around the site and use its features, for example accessing My Art Fund, completing a form or buying a National Art Pass. This file contains additional information, probably added from the digital camera or scanner used to create or digitize it. So unassuming was his appearance, they did not even recognize him. (1,944 × 1,758 pixels, file size: 2 MB, MIME type: Commons is a freely licensed media file repository. Zur Zeit von Caravaggio wurde diese Bibelepisode als Urbild des Eucharistischen Segens interpretiert. 10. Location: Musée Jacquemart-André, Paris, France. The closer disciple having leaped up, toppling his stool, has fallen to his knees, while his companion across the table shrinks back in awe and wonder. Style: Baroque. The composition is asymmetrical and turbulent, like others by Rembrandt during his years in Leiden. No printing In this picture, Rembrandt mixed allusions to the Christianity’s beginnings (the architecture is reminiscent of Paleochristian basilicas) and other painters (the large alcove may have been inspired by a picture by Titian). 30-31). You are not signed in. Additional 2 inch blank border around the edge. Summary [] Portrait of a Man with a Breastplate and Plumed Hat (160s) Metropolitan Museum of Art. The Emmaus Road account was one of Rembrandt's favourites and one which he revisited several times over the span of his career, more so in the period where his commissions had slowed. Please set a password below. Rembrandt surely counts on his viewer’s knowledge of the Bible, sufficient to suggest what came to the disciples’ minds: ‘Did not our hearts burn within us, while he opened to us the Scriptures?’ We too are left to marvel. To find out more, read our cookie policy or to manage your settings click here. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. 1853. He lays much of the emphasis here in what is not seen, the thoughts of Christ’s disciples, as they begin to grasp who is at the table with them. Rembrandt's Supper at Emmaus, 1648. Ungewöhnlich an der Darstellung ist auch der dunkle Hintergrund und das detailreich ausgeführte Stillleben im Vordergrund. Order this beautiful oil painting today! in, Create Der Klerus der damaligen Zeit empörte sich über die realistische Darstellung der Personen Caravaggios, hier vor allem die ärmliche Erscheinung der Jünger. Surely Rembrandt was doing more than identifying Christ with his Jewish parentage, but rather emphasizing the reality, recorded in the gospels, that even his own brothers did not recognize him as the Son of God, nor did his appearance compel others to believe. 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