What Is The Artistic Term For An Image Of Mary Holding Her Dead Son Jesus

What is the artistic term for an image of Mary holding her dead son Jesus? a. pisa b. sacra – Brainly.com

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What is the artistic term for an image of Mary holding her dead son Jesus? a. pisa b. sacra conversazione c. pieta d. Madonna

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Michelangelo’s Pieta – ItalianRenaissance.org

Pieta by Michelangelo, ca. 1498-1500, made of marble During his tenure with the Medici, Michelangelo carved a number of works in Florence, but in the 1490s, he left Florence and temporarily traveled to Venice, Bologna, and then Rome, where he stayed from 1496 until 1501. In 1497, a cardinal by the name of Jean de Billheres commissioned Michelangelo to construct a sculpture for a side chapel in the Old St. Peter’s Basilica in Rome. The artwork was to be installed in the chapel. Unlike any of Michelangelo’s prior works, the final sculpture, the Pieta, would be so popular that it would serve as a springboard for his professional career.

  • The Pieta depicts the Virgin Mary carrying the dead body of Christ after his crucifixion, death, and removal from the cross, but before he is laid to rest in the tomb of St.
  • This is one of the most important incidents in the life of the Virgin, known as the Seven Sorrows of Mary, which were the focus of Catholic devotional prayers during the time of its occurrence in history.
  • The fact that this was a unique work of art even during the Renaissance was due to the fact that multi-figure sculptures were uncommon at the period.
  • Following a close analysis of each figure, it becomes clear that their proportions do not appear to be fully natural in respect to the other.
  • In fact, she looks to be so tall that if she were to stand up, she would most certainly tower over her kid.
  • Michelangelo has gathered the clothing on her lap into a sea of folded drapery in order to give the impression that she is larger than she actually is.
  • Following the completion of his marble work, the marble appeared to be less like stone and more like genuine fabric as a result of the multitude of natural-looking folds, curves, and deep depths that were created.
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Although this scenario is terrible in character, Michelangelo’s skill in carving draperies is matched by his mastery of the human figures in the Christ and the Virgin, both of whom retain a lovely softness despite the tragic nature of the situation.

Although she is in a state of complete despair and devastation, she appears to have accepted what has happened and has gotten engulfed in elegant acceptance.

When the Virgin is supporting Christ, her right hand does not come into direct contact with his flesh; instead, it is covered with a fabric, which later comes into contact with Christ’s side as she leans on him.

Despite their difficulties, these two people are attractive and idealized in their own right.

A complaint was lodged against Michelangelo shortly after the piece was completed, claiming that he had misrepresented the Virgin in his depiction.

This objection was met with the simple response that women who remain chaste preserve their beauty for a longer period of time, which meant that the Virgin would not have aged like other women do.

The following is an excerpt from Vasari’s biography of Michelangelo, which explains the significance of this inscription: “Here is perfect sweetness in the expression of the head, harmony in the joints and attachments of the arms, legs, and trunk, and pulses and veins so wrought, that in truth Wonder herself must marvel that the hand of a craftsman should have been able to execute so divinely and perfectly, in such a short period of time, a work so admirable; and it is In this work, Michelagnolo’s love and devotion were so united that he did something he never did again in any other work: he wrote his name across the girdle that surrounds the bosom of Our Lady, something he never did again in any other work.

And the reason for this was that one day, when Michelagnolo arrived at the location where it had been set up, he discovered a large number of strangers from Lombardy who were praising it highly, and one of them inquired of one of the others who had done it, and he responded, “Our Gobbo from Milan,” which he took to be the source of the praise.

  1. Vasari’s Lives of the Artists is a collection of biographies of famous artists.
  2. After it was carved, the Pieta quickly gained worldwide attention.
  3. Considering that the artist lived another six decades after carving the Pieta, he was able to see the reception of the work by successive generations of artists and customers over the first six decades of the sixteenth century.
  4. Following the 1964 New York World’s Fair, Pope Paul VI stated that it would not be sent out again and would instead remain at the Vatican for the rest of his life.

Today, you may see the statue at the New St. Peter’s Basilica in Rome, which is open to the public.

Further Reading

William E. Wallace’s Michelangelo: The Complete Sculpture, Painting, and Architecture is a comprehensive study of the artist’s work. Michael Hirst’s Michelangelo: The Achievement of Fame, 1475-1534, is on display at the Metropolitan Museum of Art. James Hall’s Michelangelo and the Reinvention of the Human Body is a fascinating read. Reproduction of Michelangelo’s “Pieta” Statue

Pietà – Wikipedia

Pietà, a German artist who lived between 1375 and 1400. A theme in Christian art representing the Virgin Mary cradling the dead corpse of Jesus after his body has been lifted from the cross (Italian pronunciation:; meaning “pity” or “compassion”) is known as the Pietà (pity, compassion). It is most frequently encountered in sculpture. Specifically, the Pietà is a type of the Lamentation of Christ in which the Virgin Mary is the only one who mourns the death of Jesus.

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Context and development

Mater Dolorosa (Mother of Sorrows) and Stabat Mater (Stabat Mater) are the other two common artistic images of a sad Virgin Mary, the other being Pietà (Pieta) (the mother was standing). The other two images are more typically seen in paintings than in sculpture, however they can be found together in some cases as well. The Pietà originated in Germany (where it is known as the “Vesperbild”) around 1300, spread to Italy around 1400, and became particularly popular in Central European andachtsbilder during the Renaissance.

The Deposition of Christ and the Lamentation, also known as the Pietà, are the thirteenth and final Stations of the Cross, as well as one of the Seven Sorrows of Mary, respectively.

It is common in Spain to see the Virgin holding up one or both hands, often with Christ’s corpse drooping to the floor beneath her.


A well-known illustration St. Peter’s Basilica in the Vatican City contains a sculpture by Michelangelo that was cut from a single block of marble. In comparison to most early Pietà sculptures, which were often smaller and made of wood, this one has a more pronounced body of Christ. In addition, the Virgin appears to be extraordinarily young and in rest, as opposed to the older, sorrowing Mary seen in typical Pietàs. There are two reasons why she is depicted as youthful: first, God is the source of all beauty, and she is one of the people who is closest to God; second, the external is regarded to be a revelation of the inside (the virgin is morally beautiful).

When visitors learned that it had been carved by Cristoforo Solari, they assumed it had been done by a rival.


The sculpture, which is situated in theMuseo dell’Opera del Duomo in Florence and is also known as theFlorentine Pietà, is one of the world’s most famous works of art.

Luis de Morales, a Spanish painter who lived a century later, created a number of very emotive Pietàs, some of which may be found at the Louvre and the Museo del Prado.


  • C. 1420 Vienna Pietà
  • 15th-century German woodPietàfrom Cologne
  • Swabianpainted woodPietàfrom c. 1500
  • 18th-century Bavarian PietàwithRococosetting
  • And so on. It is likely that another sculptor created the Palestrina Pietà, which was initially credited to Michelangelo. Pieta Tondo is a well-known Italian actress. Jean Malouel
  • Jean Malouel, Pieta Tondo
  • Bogdan Cierpisz, Pieta, c.1980
  • Jean Malouel, Pieta, c.1980
  • Jean Malouel, Pieta, c.19

See also

  • Pietà (Michelangelo)
  • Pietà replicas (Michelangelo’s Pietà)
  • Pietà (Michelangelo’s Pietà)


  1. “Pietà.” National Galleries of Scotland
  2. Arthur de Bles, 2004How to Distinguish the Saints in Art by Their Costumes, Symbols, and AttributesISBN1-4179-0870-Xpage 35
  3. Anna Jameson, 2006Legends of the Madonna: as represented in the fine artsISBN1-4286-3499-1page 37
  4. For example, see Noel Quillerier’s atOratorio dell

Further reading

  • Forsyth, William F., and others (1995). The Pietà in French late Gothic sculpture: regional variants on a central theme Publisher: The Metropolitan Museum of Art, New York, ISBN: 0-87099-681-9

External links

  • Collection of information about the picture type Pietà in sculpture
  • Using photogrammetric survey, a 3D model of a detail of Mary from a cast created by the Metropolitan Museum of Art for the Vatican Museums was created
  • Moez Surani’s poem, “Pietas,” proposes nine new sculptural Pietas

Exploring Michelangelo’s ‘Pietà,’ a Masterpiece of Renaissance Sculpture

Throughout history, the world has been mesmerized by Michelangelo’s ground-breaking artistic vision. A genuine Renaissance man, the Italian artist produced a remarkable collection of world-famous works, which includes theSistine Chapel ceiling, which has an iconic portrayal of David, and the Pietà, a gigantic marble sculpture of the Madonna cradling Christ, among other things. It was created in the late 15th century and is now considered to be one of the most famous sculptures in the world. It is necessary to comprehend the iconography, history, and creative aspects of this item in order to fully appreciate its significance as a part of our cultural heritage.

What is a “Pietà”?

When it comes to Christian art, aPietàis any representation (especially a sculptural representation) of the Virgin Mary bearing the body of her son Jesus. According to the Bible, Jesus was crucified because he professed to be the son of the living God. Since German sculptors introduced woodenVesperbild figurines to Northern Europe during the Middle Ages (which literally means “picture of the vespers”) during the Middle Ages, the scene of Mary embracing her slain son has proven to be a popular topic among artists for ages.

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By the end of the 15th century, young Florentine artist Michelangelo di Lodovico Buonarroti Simoni had already established himself as a well-known figure in the art world. As a result of his skill in portraying biblical characters with accurate physical traits in both painting and sculpture, he was commissioned by the ecclesiastical elite of Rome. In late 1497, Cardinal Jean de Bilhères-Lagraulas, the French envoy to the Holy See, approached Michelangelo and requested that he create a large-scale Pietà for his grave by the end of the year.

This media, which was historically utilized by ancient Roman architects, was appreciated for its quality and became popular among Renaissance painters because to its availability.

The artist said in his book The Lives of the Artists that it was “surely a wonder” that a “formless block of stone” could ever be reduced to “a perfection that nature is barely able to achieve in the flesh.” In fact, the artwork was so well-regarded that Michelangelo, worried that he would not be properly credited, famously inscribed it with his own name, despite the fact that he is notorious for never signing his work.

According to Vasari, the artist overheard bystanders incorrectly ascribe the picture to Il Gobbo, a Milanese artist who was not there at the time of the painting.

According to Michelangelo’s answer, he “remained mute, but felt it unusual that his labors should be credited to another; and one night he sealed himself in there and etched his name into it, having brought a tiny lamp and chisels with him.”

A Renaissance Masterpiece

What distinguishes Michelangelo’s Pietàso from other works of art? The painting, like previous works by the artist, reflects Renaissance values; in particular, it demonstrates an emphasis in naturalism, as do other works by the artist. Italian painters began to reject the artificial forms prevalent in figurative Medieval painting during the High Renaissance (1490-1527), in favor of a more naturalistic style during the period known as the High Renaissance. Michelangelo was at the vanguard of this movement, creating sculptures that were characterized by their attention to balance, detail, and a lifelike yet idealized approach to the human figure.

  • He designed the sculpture in the shape of a pyramid in order to convey the idea of balance.
  • It assists the audience in observing a piece of art by guiding their attention around the composition.
  • While the Virgin’s huge stature contributes to the sculpture’s genuineness in this respect, it paradoxically seems unnatural because she appears to be far larger than her adult son.
  • While the majority of art historians believe it was a problem of perspective (a big person draped across the lap of a smaller figure would appear imbalanced), there is another, more dramatic argument that can be traced back to theVesperbildtradition that explains the phenomenon.


The Pietà has had an exciting history since its debut in the 15th century. While it was first held in the cardinal’s Vatican City-based funeral chapel for decades, it finally acquired a permanent and conspicuous home in St. Peter’s Basilica, where it remains to this day. Despite the fact that the artwork has a 520-year history, many of the highlights of its legacy have just lately come to light. When it was first presented during the 1964 New York World’s Fair, it drew a lot of attention in the middle of the twentieth century, for example.

Even more recently, historians determined that a little terra clay figure recovered in Paris served as the piece’s study, causing it to make news once more in early 2019.

Even in the absence of these subsequent advancements, however, thePietàhas unquestionably cemented its position as one of the world’s most significant works of art.

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