renaissance art

The artwork has been hotly debated for years, but its sale signals one thing absolutely: a "very unequal, even obscene distribution of wealth in the world."
What's for dinner? The BBC examines the meal Leonardo placed on Jesus' table.
Betrothal of the Virgin by Michael Pacher -- wikimedia.org In the early years of Christianity, separation was a bumpy road
For Jesus, a dedicated practicing Jew, Passover was a seminal event. Although the Gospels do not give us a fully developed biography of Jesus, they do make it clear that Passover looms large in his life.
During the late Renaissance, Venice replaced Florence as Italy's most celebrated art capital. "In the Age of Giorgione" at London's Royal Academy of Arts explores how this came about thanks to two local talents, Giorgione and Titian.
Somewhere among the late responders stands the choreographer. While the dancer can improvise her response to a cataclysm on the spot, the choreographer must devise a language of movement that must first be conveyed to a dancer who in turn must convey it to an audience.
It's not surprising that artworks mirrored propaganda, since the paintings were commissioned by the Church, the biggest patron, and the wealthy, who sought to impress the Church with their devotion to Jesus and the teachings of the Church. Jesus the Jew did not fit into this illusory world.
Today we're celebrating Leonardo da Vinci, artist, scientist, inventor, philosopher and musician extraordinaire. Coinciding
When I tuned in on March 29, 2015, for the National Geographic's film production Killing Jesus, adapted from Bill O'Reilly's book Killing Jesus, I was poised, pen in hand, to write about the return of Jesus the Tea Party guy.
Although Christianity did eventually emerge as a separate religion, similar falsifications of biblical history are rampant in collections of Renaissance art spanning hundreds of years. These distortions were not harmless. They imposed a dangerous division between Christians and Jews that lingers today.
Art historians, art critics, and curators of Renaissance painting exhibits have participated in a grand deception. They have remained silent in the face of falsifications of biblical history in artworks that are staring right at them.
A piece of art that either openly celebrates same-sex desire or points to it; or reveals within its space some aspect of an outsider sexual experience that has been withheld.
Jesus would likely be horrified by the image of him displaying a crucifix. The only crucifix he ever held was the one he was nailed to in the brutal process of his crucifixion.
Like my students, Jews have shunned Jesus and failed to recognize his dedicated commitment to Judaism -- a recognition that does not require accepting him as the Messiah.
Bill O'Reilly disputed the two main points of my recent blog on The O'Reilly Factor broadcast: My affirmation of Jesus' lifelong dedication to Judaism (meaning he did not start a new religion) and the assertion that Renaissance art representations of Jesus omit his Jewish identity and thus falsify biblical history.
Try to locate even a hint of Jesus' Jewish identity and heritage in Renaissance paintings and you will find yourself on a fruitless quest. Some respondents bristled at what they perceived as the suggestion of a conspiracy to suppress Jesus Jewish identity. But the falsification of biblical history in artworks was not a conspiracy.