Crucifixion with Stories of Passion and Holy Figures (detail). PISA, School of, end of 12th c. Italy, Florence, Galleria degli Uffizi. ID=IFU still image Painting eng In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties. In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties. Painting Art and Art History Collection (Saskia)
Crucifixion with Stories of Passion and Holy Figures (detail).
PISA, School of, end of 12th c.
Italy, Florence, Galleria degli Uffizi. ID=IFU
still image
Painting
eng
In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties.
In the Last Judgement Christ and the Virgin are set side by side in separate mandorlas, and Christ concentrates upon a single condemnatory gesture. The traditional balance between the Blessed and the Damned has been maintained, but Hell has swollen to become almost a separate scene, running the full height of the wall and rivalling the whole of the rest of the Last Judgement in size. The change in relative proportion expresses the sense of guilt and the awareness of the just and terrifying wrath of God that follow the disasters of the forties and permeate the art of the fifties and sixties.
Painting
Art and Art History Collection (Saskia)