The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists (1905) (14786130553)

Identifier: artoflouvreconta00pott (find matches) Title: The art of the Louvre, containing a brief history of the palace and of its collection of paintings, as well as descriptions and criticism of many of the principal pictures and their artists Year: 1905 (1900s) Authors: Potter, Mary Knight, d. 1915 Subjects: Musée du Louvre Painting Publisher: Boston, L.C. Page & company Contributing Library: Harold B. Lee Library Digitizing Sponsor: Brigham Young University View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: atelydarkened and faded but it is still impressive even in itspresent state. It must have been a marvel for evenTitians brush when it left his studio. Occupying the very centre of the picture is the deadbody of Christ, borne in the arms of Nicodemus andJoseph of Arimathea. Assisting them, placed between,but on the other side of his master, is John the disciple,and at the left stands the rrtother, supported by MaryMagdalene. At the right is the open sepulchre and be-hind a mass of dense, shadowed woods and a frowningsky broken by lurid streaks of light. Such is the generalscheme of composition. Not largely different from theconventionally prescribed plan of treatment of the subject,but so vivified, so realized by the mind of the genius thatexecuted it, that the very theme itself seems never tohave been expressed in paint before. The light is so arranged that it falls on the lower partof the body of Jesus, and on his arms, leaving his faceand torso in deep shade. Nicodemus, as he stands Text Appearing After Image: h £ W £ s rt 3Q s H 0 >i H pq £ W Salon Carre 249 back to lifting the shoulders of the Saviour, is in light,his head and neck, however, enveloped in the shadowthat covers his burden. Johns face, raised and gazingat Mary is thrown into relief, the shadow sweeping over