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Google translation
The Pilgrims \ 's Emmaus
The episode Pilgrim \ 's Emmaus, narrated by the evangelist Luke (24:13-35), he was treated differently by Veronese and Rembrandt. These two famous paintings are on display at the Louvre.
\ "\"
The Pilgrims \ 's Emmaus
 
inv 146

Paolo Caliari,
said VERONESE
 
To 1559
Denon 1st floor

Room 6

This early work, the first representation of \ a biblical meal in the career of Veronese (1528-1588) is constructed as a stage including portraits of contemporary figures. A patrician Venetian family attends, with his servants and his dogs, dinner \ 's in which two Emmaus disciples, identified by tradition to Luke and Cleopas, to recognize the Risen Christ breaking bread.

By mixing intimately, as in many of his creations, the divine and the earthly, Veronese intends to \ 's focus on the \' humanity of Christ and enter the sacred in everyday life. (Ww.louvre.fr)

\ "\"\ "\"\ "\"
retail Luc detail \ 's African details of the girls dog
"But, see, that same day two of them were going to a remote village of about eleven kilometers Jerusalem [and] called Emmaus, and talking with each other about all these things that had happened. However, they were talking and discussing, Jesus himself came near and walked with them, but their eyes were kept from recognizing him. He told them: "What are the issues that you're struggling while walking? "And they stood still, looking sad. In response one [of them], named Cleopas, said to him: "Do as you live abroad except in Jerusalem, that you do not know the things that have happened there in these days? "[...] Thereupon he went in to stay with them. And as he lay at table with them, he took bread, and blessed, and having broken, he handed them. Then their eyes were opened and they recognized him fully, and he disappeared from their sight. And they said one to another, "Did not our heart burn when he spoke to us on the road, when fully opened the Scriptures to us? "And at that time they even got up and returned to Jerusalem and found the eleven gathered and those who were with them, saying," Truly, the Lord has been raised and has appeared to Simon! "So themselves told the [things that happened] on the road and how it was made known to them when he broke the bread. "- Luke 24:13-35
Rembrandt died in Amsterdam in 1669, is an avid reader of the Bible. In its quest for renewal of Christian images, Protestant painter rejects predictable traditional Christ majesty. It focuses on the figure itself, but also its perception. In the background of his works, there is also the famous religious tolerance of Holland in the seventeenth century. Here we find one dear to the \ subjects artist, competing here with the great Venetians of the sixteenth century (Titian, Veronese) but \ 's interior and \ humanity own Rembrandt, poet warm browns and deep shadows and alive.
\ "\"
Christ is revealing
the pilgrims \ Emmaus
 
inv 1739

REMBRANDT Harmensz.
van Rijn

about 1648
Rembrandt mell
this table hints
in the early church (architecture evokes the early Christian basilicas)
as other painters (the large niche could be a composition of Titian).
Symphony of light, natural and divine, the work is full of nuances.
Immersed in the biblical past, proximity to the Jewish community, it seems logical that the painter multiplies representations of Christ, while producing portraits of members of the Jewish community in Amsterdam. Fleeing the Inquisition, these refugees from the Iberian Peninsula and Central Europe found refuge in the port city and also incorporated completely in 1630. Jews mingled together the Reformed Christians in an atmosphere of tolerance. This unique integration of the Jewish people coincides with the life of Rembrandt (1606-1669) and is not foreign to the turn that takes work.
But is it possible to paint
Christ from nature?
The vision shadow of Christ
in the table at Emmaus
the problem: the shadow suggests
the mystery of the resurrection of Jesus,
while affirming that there is no evidence
traits of Christ.
How to represent Jesus after the resurrection? How the show
men who do not recognize?
Iridescent colors of the tunic
Christ, gradation of feelings
faithful recognize the risen.
Not only is the figure of Christ had
be painted from a live model
but it seems that the pilgrims
surrounding Jesus have also been.
\ "\"
The 1640s Rembrandt will grope in search of a true Christ. The multiplicity of works reflects the range of possibilities explored: Robust Christ, ascetic, almost diaphanous ghostly familiar young and alive, sepulchral. Painted in the studio, after a model (Jewish?) Taken from life, his works break the sacred image. There are not one but several figures of Christ. It is far from Christ in glory, idealized, Rubens or the Italian Renaissance.
\ "\"
The Supper at Emmaus,
MJAP P-848  
Rembrandt, Towards 1629
Oil on paper mounted on wood
Jacquemart-André Museum, Paris
In this composition,
the young Rembrandt (23) uses
against a violent-day showcase
the figure of Christ, the mystery.
The shadow that surrounds the character
revealing the pilgrims (one of them,
in the foreground, fell out of his chair)
leaves it to the viewer
to consider the features of Christ.

The artists who painted Christian man Jesus Christ were undoubtedly very far from reality. Comparing the kings of his line, David, king in Jerusalem exclaimed: "You are really better than the son of man. The charm has been poured upon your lips. "- Psalm 45:2.

This beauty does not depend on the features of his face, but what would come out of his mouth. And if the Bible is silent about his physical appearance, it seems more important to know what kind of person he was, and to observe all that he commanded. - Matthew 28:20





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