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Jesus accused by the Pharisees. Maesta altarpiece (tempera and gold on wood, 1308-1311)
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Jesus accused by the Pharisees. Maesta altarpiece (tempera and gold on wood, 1308-1311)
LRI4571767 Jesus accused by the Pharisees. Maesta altarpiece (tempera and gold on wood, 1308-1311) by Duccio di Buoninsegna, (c.1278-1318); Museo dell Opera del Duomo, Siena, Italy; (add.info.: La Maesta The Passion: Jesus Accused by the Pharisees (Jesus accused by the Pharisees) Front of the altarpiece - Painting by Duccio di Buoninsegna (1255-1319), 1308-1311 Dim 50x55 cm Tempera on wood with golden background Museo dell Opera del Duomo, Siena (Museum of the work of the Cathedrale of Siena)); Luisa Ricciarini; Italian, out of copyright
Media ID 23715290
© Luisa Ricciarini / Bridgeman Images
Chain Gold Background Passion Pilate Pumice Trecento Aureole Prisoner
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EDITORS COMMENTS
This print captures a profound moment from Duccio di Buoninsegna's Maesta altarpiece, depicting Jesus accused by the Pharisees. The painting, created between 1308 and 1311, showcases the artist's mastery of tempera and gold on wood technique. In this scene, Jesus stands as a prisoner before Pontius Pilate while being confronted by the Pharisees. The intense emotions are palpable as religious authority clashes with divine presence. The golden background adds an ethereal touch to the composition, emphasizing the sacredness of this biblical event. Luisa Ricciarini skillfully captures every intricate detail in her photo print, allowing viewers to appreciate the artistry and symbolism embedded within Duccio's masterpiece. From Jesus' aureole radiating light to his chained hands symbolizing his impending sacrifice, each element tells a story of faith and redemption. The medium age aesthetic prevalent in Italian art during that period is beautifully preserved in this work. Ricciarini's photograph brings forth not only historical significance but also spiritual contemplation for those who engage with it. Displayed at Museo dell Opera del Duomo in Siena, Italy, this artwork serves as a testament to Duccio di Buoninsegna's artistic genius and continues to inspire awe centuries later. Through Luisa Ricciarini's lens, we are granted access to experience this powerful biblical scene firsthand – an invitation into a world where religion intertwines with art seamlessly
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