Pietà in the context of "The Trinity in art"

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⭐ Core Definition: Pietà

The Pietà (Italian pronunciation: [pjeˈta]; meaning "pity", "compassion") is a subject in Christian art depicting the Blessed Virgin Mary cradling the mortal 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.

An image consisting only of a dead Christ with angels is also called a Pietà, at least in German, where Engelpietà (literally "Angel Pietà") is the term for what is usually called Dead Christ supported by angels in English.

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👉 Pietà in the context of The Trinity in art

The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread. However depictions using three anthropomorphic figures appear occasionally in most periods of art.

The Father and the Son are usually differentiated by age, and later by dress, but this too is not always the case. The usual depiction of the Father as an older man with a white beard may derive from the biblical Ancient of Days, which is often cited in defense of this sometimes controversial representation. However, in Eastern Orthodoxy the Ancient of Days is usually understood to be God the Son, not God the Father—early Byzantine images show Christ as the Ancient of Days, but this iconography became rare. When the Father is depicted in art, he is sometimes shown with a halo shaped like an equilateral triangle, instead of a circle. The Son is often shown at the Father's right hand. He may be represented by a symbol—typically the Lamb or a cross—or on a crucifix, so that the Father is the only human figure shown at full size. In early medieval art, the Father may be represented by a hand appearing from a cloud in a blessing gesture, for example in scenes of the Baptism of Christ. Later, in the West, the "Throne of Mercy" (or "Throne of Grace") became a common depiction. In this style, the Father (sometimes seated on a throne) is shown supporting either a crucifix or, later, a slumped crucified Son, similar to the Pietà (this type is distinguished in German as the Not Gottes) in his outstretched arms, while the Dove hovers above or in between them. This subject continued to be popular until the 18th century at least.

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Pietà in the context of Congress House

Congress House is the headquarters of the Trades Union Congress (TUC), a British organisation that represents most of the UK's trade unions. It is also an events venue, Congress Centre.

In 1948, David du Roi Aberdeen won an architectural competition to design the new TUC headquarters building in Great Russell Street, London. Staff began to move into the offices in 1956. Congress House was officially opened on 27 March 1958 along with the unveiling of a giant pietà-style statue of a woman holding her dead son. Carved in place in the internal courtyard by Jacob Epstein, it was intended as a memorial to the dead trade unionists of both world wars.

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Pietà in the context of Lamentation of Christ

The Lamentation of Christ is a very common subject in Christian art from the High Middle Ages to the Baroque. After Jesus was crucified, his body was removed from the cross and his friends mourned over his body. This event has been depicted by many different artists.

Lamentation works are very often included in cycles of the Life of Christ, and also form the subject of many individual works. One specific type of Lamentation depicts only Jesus' mother Mary cradling his body. These are known as Pietà (Italian for "pity").

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Pietà in the context of Man of Sorrows

Man of Sorrows, a biblical term, is paramount among the prefigurations of the Messiah identified by the Bible in the passages of Isaiah 53 (Servant songs) in the Hebrew Bible. It is also an iconic devotional image that shows Christ, usually naked above the waist, with the wounds of his Passion prominently displayed on his hands and side (the "ostentatio vulnerum", a feature of other standard types of image), often crowned with the Crown of Thorns and sometimes attended by angels. It developed in Europe from the 13th century and was especially popular in Northern Europe.

The image continued to spread and develop iconographical complexity until well after the Renaissance, but the Man of Sorrows in its many artistic forms is the most precise visual expression of the piety of the later Middle Ages, which took its character from mystical contemplation rather than from theological speculation. Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period – devotional images detached from the narrative of Christ's Passion, intended for meditation.

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Pietà in the context of Kalos inscription

A kalos inscription is a form of epigraph found on Attic vases and graffiti in antiquity, mainly during the Classical period from 550 to 450 BC. The word kalos (καλός), meaning 'handsome' or 'beautiful', was often accompanied by the name of a certain man, or sometimes simply by the word pais (παῖς), meaning the 'boy' or 'youth', without naming a particular person. The female version was kalē (καλή). The kalos inscriptions typically had an erotic connotation.

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