The Madonna della Pietà, informally known as La Pietà, is a marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Blessed Virgin Mary by Michelangelo Buonarroti, now in Saint Peter's Basilica, Vatican City. It is a key work of Italian Renaissance sculpture and often taken as the start of the High Renaissance.
In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
The Pietà is a subject in Christian art depicting the Blessed Virgin Mary cradling the dead body of Jesus Christ after his Descent from the Cross. It is most often found in sculpture. The Pietà is a specific form of the Lamentation of Christ in which Jesus is mourned by the Virgin Mary alone. However, in practice works called a Pietà may include angels, the other figures usual in Lamentations, and even donor portraits.
The term Poor Man's Bible has come into use in modern times to describe works of art within churches and cathedrals which either individually or collectively have been created to illustrate the teachings of the Bible for a largely illiterate population. These artworks may take the form of carvings, paintings, mosaics or stained-glass windows. In some churches a single artwork, such as a stained-glass window, has the role of Poor Man's Bible, while in others, the entire church is decorated with a complex biblical narrative that unites in a single scheme.
Lithuanian cross crafting is a traditional Lithuanian art of crafting crosses. The making of altars and crosses is an important part of Lithuanian culture. Lithuanian traditional crosses are part of the people's Roman Catholic religion. Approximately since Lithuania became a part of the Russian Empire in the 19th century, these crosses have become a symbol of the Lithuanian people.
The Church of St. Peter and St. Paul is a Roman Catholic church located in the Antakalnis neighbourhood of Vilnius, Lithuania. It is the centerpiece of a former monastery complex of the Canons Regular of the Lateran. Its interior has masterful compositions of some 2,000 stucco figures by Giovanni Pietro Perti and ornamentation by Giovanni Maria Galli and is unique in Europe. The church is considered a masterpiece of the Polish–Lithuanian Commonwealth Baroque. It was funded by Michał Kazimierz Pac, commemorating a victory over the Muscovites and their expulsion from Vilnius after six years of occupation.
The Pensive Christ is a subject in Christian iconography depicting a contemplating Jesus, sitting with his head supported by his hand with the Crown of Thorns and marks of his flagellation. It is, therefore, a picture of Jesus shortly before his crucifixion, although more an andachtsbild or devotional subject than intended to show an actual moment in the narrative of the Passion of Christ. The Pensive Christ is much more common in sculpture than in painting, where the similar Man of Sorrows is more often depicted.
Philip Lindsey Clark (1889–1977) was an English sculptor.
Roland Doré was a 17th-century sculptor and his workshop or "atelier" produced many sculptures for the enclos paroissiaux or "parish church enclosure or closes" of Brittany. In particular his work can be seen on calvaries and in the church's south porch. He was born in 1616 and died in 1660. Little detail of his life is known but it is recorded that he practised as an architect in Landerneau, as well as running his workshop, and was recorded as calling himself the "Sculpteur du Roi". His works, all of an ecclesiastical nature, are mainly located in Léon and the north of Cornouaille. They can be taken as works by Doré's workshop rather than just by Doré himself. Brittany is particularly rich in calvaries, some of a very elaborate nature. In most cases the calvary involves both the crucifixion cross and side crosses or gibbets bearing the good and the bad robbers. Below this, on the crosspieces, were statues of those present at the crucifixion. A feature of Breton calvaries is that most of the statues were carved as a pair and effectively back to back. Doré's output was prodigious and he worked on nine monuments in Saint-Thégonnec, five in Logonna-Daoulas and four in the parish of Plougastel-Daoulas. He also received four commissions to work in Hanvec, three in Guiclan, Irvillac and Lampaul-Guimiliau and two commissions in Cléden-Cap-Sizun, Hôpital-Camfrout, Landerneau, La Martyre, Plabennec, Pleyben, Plogonnec, Saint-Nic, Saint-Servais and Saint-Urbain.
This is a listing of some of the works of Jean Fréour.
The Calvary of Guéhenno, dating from 1550, is located in the village of Guéhenno in the Pontivy arrondissement of Brittany. This article gives a full description of the calvary and details of how it was rebuilt after suffering severe damage in 1794. This calvary is classified as one of the seven great calvaries of Brittany and is the furthest to the east, being located in the ancient diocese of Vannes. It is made entirely from granite save for some bas-reliefs carved using "pierre bleutėe". The granite used is fine grained which lends itself to being carved. Extracted from the Guéhenno region, it was also used for the north porch at Ploërmel and the façade of the château at Josselin.
The Lampaul-Guimiliau Parish close is located at Lampaul-Guimiliau in the arrondissement of Morlaix in Brittany in north-western France. It is a monumental churchyard belonging to the Église Notre-Dame in that town. This church was built in the late 16th century to replace an older one. The structures in the parish close date to the 16th and 17th century. It is a listed historical monument since 1910.
The Locmélar Parish close is located at Locmélar in the arrondissement of Morlaix in Brittany in north-western France. It is a listed historical monument since 1934.
Pietà a small painted wood sculpture dated to c. 1375–1400, now in the collection of the Cloisters, New York. Very little is known of it, except that is probably of southern German origin. The statuette emphasises the suffering of both the Virgin and Jesus Christ.
Franz Tavella was a Ladin master wood sculptor active in the Austro-Hungarian Empire and the Kingdom of Italy.
Ludwig Moroder "Lenert" was an Italian sculptor and teacher. He was also known as:Ludwig Moroder dl Meune or Lodovico Moroder.
The miniature altarpiece in the British Museum, London, is a very small portable Gothic boxwood miniature sculpture completed in 1511 by the Northern Netherlands master sometimes identified as Adam Dircksz, and members of his workshop. At 25.1 cm (9.9 in) high, it is built from a series of architectural layers or registers, which culminate at an upper triptych, whose center panel contains a minutely detailed and intricate Crucifixion scene filled with multitudes of figures in relief. Its outer wings show Christ Carrying the Cross on the left, and the Resurrection on the right.
Maffeo Olivieri was an Italian sculptor and wood carver. Often associated with his younger brother Andrea, he was active in Lombardy, Venice and Trentino. He was known for his bronze, wood and marble creations, and considered the premier sculptor in early sixteenth century Brescia.
The Velhartice Ark, dating from 1490 to 1500, is a completely preserved late-Gothic altar from Bohemia. The altar is exceptional in the quality of its carving. It was originally commissioned for the parish church of the Nativity of the Virgin Mary in Velhartice in south-west Bohemia, where it probably stood on the mensa of the main altar. It is on display in the exposition of medieval art of the National Gallery in Prague.
The Master of the Madonna of Kamenná Street is an auxiliary term for an anonymous carver active in Cheb between 1480 and 1520. Around twenty late Gothic carvings are associated with his workshop in the Cheb region. According to Vykoukal, he could be identical to the Cheb sculptor Hans Maler von Eger.
