Chairs dormantes: L’agonie du visible à la limite du cadre dans l’iconographie de la Prière du Christ au Jardin des Oliviers
At the starting point of this investigation is a painting that is said to have been the one in front of which Charles Borromeo, Bishop of Milan, died in 1584. This painting was on the Agony in the Garden of Olives. The bishop’s eyes were extinguished before an image of difficult discernment, particu...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | French |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2025
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| In: |
Die Bibel in der Kunst
Year: 2025, Volume: 9, Pages: 1-29 |
| Standardized Subjects / Keyword chains: | B
Picture
/ Jesus Christus
/ Agony
/ Death
/ Apostle
/ Gethsemane (motif)
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| IxTheo Classification: | HC New Testament |
| Further subjects: | B
carlo Borromeo
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| Online Access: |
Volltext (kostenfrei) |
| Summary: | At the starting point of this investigation is a painting that is said to have been the one in front of which Charles Borromeo, Bishop of Milan, died in 1584. This painting was on the Agony in the Garden of Olives. The bishop’s eyes were extinguished before an image of difficult discernment, particularly with regard to the bodies of the sleeping apostles. In this way, a link was gradually forged between the darkness of night, the profile of Christ praying on the threshold of his death, these mingled bodies not yet reunited in the flesh of the Christ’s flesh in his resurrection, a Christ who has yet to face up the event of this resurrection. And from this almost to this not yet, a continuous bass has emerged, linking – often at the margins of the great polyptychs, or on their thresholds – the dazzled-blinded apostles of the Transfiguration, the sleep-stricken apostles of the Agony, and the guards stunned and as if dead before the almost empty tomb, a continuous bass night before the great aria of the Resurrection, the great image of God that I face, no longer “I”, Charles Borromeo, on the threshold of death, but perhaps “I”, saved body and soul, on the day of my own resurrection, of which the contemplation of this image would be the prodigious the miracle written between the lines of the Gospel story. |
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| Contains: | Enthalten in: Die Bibel in der Kunst
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