File:Caravaggio.emmaus.750pix.jpg
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這個檔案已經被1602-3 Caravaggio,Supper at Emmaus National Gallery, London.jpg取代。 建議您使用其他圖像。請注意要刪除被取代的圖像的話,您需要首先取得社群共識。
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摘要
[編輯]授權條款
[編輯]
此為如實地拍攝平面藝術品的相片複製本。原作位於公有領域,是因下列原因:
維基媒體基金會的官方立場認為:「針對平面公有領域的藝術作品進行忠實重製,其重製後的照片也屬於公有領域。」
因此,可認定本重製照片屬於公有領域。在其他司法管轄區,再利用此照片可能會被限制;參見再利用PD-Art照片以獲得進一步資訊。 |
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日期/時間 | 縮圖 | 尺寸 | 用戶 | 備註 | |
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目前 | 2007年8月14日 (二) 08:21 | ![]() | 1,203 × 850(173 KB) | Argento(對話 | 貢獻) | same source but bigger |
2005年7月25日 (一) 01:24 | ![]() | 750 × 530(96 KB) | Matanya (usurped)(對話 | 貢獻) | from en wikipedia. Caravaggio, “Supper at Emmaus”, painted 1601-02. Size: 77 by 55 inches (195 by 139 cm). National Gallery, London (UK). <br> Source: http://www.kfki.hu/~arthp/html (Web Gallery of Art). <br> Picture prepared for Wikipedia by |
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檔案用途
全域檔案使用狀況
以下其他 wiki 使用了這個檔案:
- ast.wikipedia.org 的使用狀況
- avk.wikipedia.org 的使用狀況
- Amor vincit omnia (trutca ke Caravaggio)
- Awalkera ke Ketyanya (trutca ke Caravaggio)
- Awalkodayura ke Matteo tumtikye (trutca ke Caravaggio)
- Blikese Francesco tumtikye (1) (trutca ke Caravaggio)
- Blikese Girolamo tumtikye (trutca ke Caravaggio)
- Daykara va Krist (trutca ke Caravaggio)
- Delt va Paolo V papik (trutca ke Caravaggio)
- Deweldura ke Paolo tumtikye (1) (trutca ke Caravaggio)
- Deweldura ke Paolo tumtikye (2) (trutca ke Caravaggio)
- Ecce Homo (trutca ke Caravaggio)
- Estura koe Emmaus (1) (trutca ke Caravaggio)
- Wetara va Isacco (2) (trutca ke Caravaggio)
- Volopelkafe Tommaso tumtikye (trutca ke Caravaggio)
- Trutceem ke Caravaggio
- Torestasonara (1) (trutca ke Caravaggio)
- Torestasonara (2) (trutca ke Caravaggio)
- Sutese Girolamo tumtikye (1) (trutca ke Caravaggio)
- Sopera va Krist (trutca ke Caravaggio)
- Gamdaytara va Pietro tumtikye (trutca ke Caravaggio)
- Giovanni Battista tumtikye (2) (trutca ke Caravaggio)
- Giovanni Battista tumtikye (3) (trutca ke Caravaggio)
- Giovanni Battista tumtikye (4) (trutca ke Caravaggio)
- Giovanni Battista tumtikye (5) (trutca ke Caravaggio)
- Ketyanya do Pintye is Anna tumtikya (trutca ke Caravaggio)
- Ketyanya ke befoltikeem (trutca ke Caravaggio)
- Koblira do Lorenzo tumtikye isu Francesco (trutca ke Caravaggio)
- Krist moe Kruba mefta (trutca ke Caravaggio)
- Kubla ke Matteo tumtikye (trutca ke Caravaggio)
- Matteo tumtikye is pumkik (1) (trutca ke Caravaggio)
- Matteo tumtikye is pumkik (2) (trutca ke Caravaggio)
- ay.wikipedia.org 的使用狀況
- ca.wikipedia.org 的使用狀況
- cs.wikipedia.org 的使用狀況
- da.wikipedia.org 的使用狀況
- de.wikipedia.org 的使用狀況
- el.wikipedia.org 的使用狀況
- en.wikipedia.org 的使用狀況
- eo.wikipedia.org 的使用狀況
- es.wikipedia.org 的使用狀況
檢視此檔案的更多全域使用狀況。
詮釋資料
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JPEG 檔案備註 | CARAVAGGIO
(b. 1571, Caravaggio, d. 1610, Porto Ercole) Supper at Emmaus 1601-02 Oil on canvas, 139 x 195 cm National Gallery, London The gospel according to St Luke (24:13-32) tells of the meeting of two disciples with the resurrected Christ. It is only during the meal that his companions recognize him in the way he blesses and breaks the bread. But with that, the vision of Christ vanishes. In the gospel according to St Mark (16:12) he is said to have appeared to them "in an other form" which is why Caravaggio did not paint him with a beard at the age of his crucifixion, but as a youth. The host seems interested but somewhat confused at the surprise and emotion shown by the disciples. The light falling sharply from the top left to illuminate the scene has all the suddenness of the moment of recognition. It captures the climax of the story, the moment at which seeing becomes recognizing. In other words, the lighting in the painting is not merely illumination, but also an allegory. It models the objects, makes them visible to the eye and is at the same time a spiritual portrayal of the revelation, the vision, that will be gone in an instant. Caravaggio has offset the transience of this fleeting moment in the tranquillity of his still life on the table. On the surfaces of the glasses, crockery, bread and fruit, poultry and vine leaves, he unfurls all the sensual magic of textural portrayal in a manner hitherto unprecedented in Italian painting. The realism with which Caravaggio treated even religious subjects - apostles who look like labourers, the plump and slightly feminine figure of Christ - met with the vehement disapproval of the clergy.
Author: CARAVAGGIO Title: Supper at Emmaus Time-line: 1551-1600 School: Italian Form: painting Type: religious |
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