Andrea Schiavone - The Presentation in the Temple

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Andrea Schiavone - The Presentation in the Temple

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Summary

In Mariette Album, folio 15, top
Andrea Schiavone (Andrea Meldola) (Italian, Zadar (Zara) ca. 1510?–1563 Venice)

The Presentation in the Temple, also known as the Purification of the Virgin or the Meeting of the Lord, is a scene from the New Testament that depicts the presentation of the baby Jesus in the Temple in Jerusalem. According to the Gospel of Luke, Mary and Joseph brought Jesus to the Temple to fulfill the requirements of Jewish law, which mandated that a mother who had given birth to a male child must undergo a period of purification before being allowed to reenter the community. At the Temple, they encountered two elderly prophets, Simeon and Anna, who recognized Jesus as the Messiah and praised God for his arrival.

The Presentation in the Temple is significant in several ways. It highlights the obedience of Mary and Joseph to the laws and traditions of their faith, and underscores their commitment to raising Jesus as a faithful Jew. It also foreshadows the role that Jesus would play as a teacher and leader, as Simeon and Anna recognized him as the Messiah and praised God for his arrival.

The scene is often depicted as a peaceful and contemplative moment, with Mary and Joseph holding the baby Jesus, while Simeon and Anna look on with awe and wonder. The imagery of the Presentation in the Temple is often used to evoke themes of obedience, devotion, and recognition of the divine presence in the world.

The image of Mary holding the Christ Child is a common depiction in Christian art and is known as the "Madonna and Child." It represents the mother of Jesus and her son and is a symbol of motherhood, love, and compassion.

Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.

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Date

1540 - 1544
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Source

Metropolitan Museum of Art
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Public Domain Dedication (CC0)

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andrea schiavone
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