BIBLE PICTURES © Serge Ceruti and Gérard Dufour 2008
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You have chosen this picture The Arrest of Christ; Fra ANGELICO; circa 1450; fresco; Museo di San Marco, Florence Olga's Gallery - Online Art Museum
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The Arrest of Christ |
WHAT YOU CAN SEE IN THIS PICTURE...AND IN OTHER PICTURES
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THE BIBLICAL NARRATIVE
The Arrest of Christ; Fra ANGELICO; circa 1450; fresco; Museo di San Marco, Florence Olga's Gallery - Online Art Museum
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The Arrest of Christ |
The Gospel according to Matthew, chapter 26 And while he yet spoke, behold, Judas, one of the twelve, came, and with him a great multitude with swords and clubs, from the chief priests and elders of the people. Now he that had betrayed him gave them a sign, saying : "Whomever I shall kiss, he is the one: hold him fast." And immediately he came to Jesus and said: "Hail, master !", and kissed him. And Jesus said to him: "Friend, why have you come? " Then they came and laid hands on Jesus, and took him. And, behold, one of those who were with Jesus stretched out his hand, and drew his sword, and struck a servant of the high priest, and cut off his ear. Then Jesus said to him : "Put up again your sword into its place: for all who take the sword shall perish by the sword." (Matthew 26:47-52)
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Comment This is a dramatic moment when the kiss, a sign of friendship and love, is used as treachery and to give death. Jesus is delivered as the Lamb of sacrifice and as the suffering servant
announced by the Prophets (Isaiah, chapter 53).
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SIMILAR PICTURES
The Arrest of Christ |
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The Arrest of Christ; Fra ANGELICO; circa 1450; fresco; Museo di San Marco, Florence Olga's Gallery - Online Art Museum
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Two complete scenes but one uses depth, the other keeps to the foreground; which gives different viewpoints on Judas’ kiss and the ear cut off by Peter. In Giotto, the latter attacks in a strange way, from behind, with a knife. |
The Capture of Christ; Dieric BOUTS the Elder; oil on canvas; Alte Pinakothek, Munich.
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he Kiss of Judas; GIOTTO di Bondone; 1304-06; fresco; Scrovegni Chapel, Padua, Italy
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The violence of the arrest is represented in close-up. The soldier separates Judas and Jesus who are strangely linked, by their hands on the left, by their gazes on the right. Caravaggio also represents the horrified disciple, probably Mark the evangelist, who runs away.
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The Taking of Christ; Michelangelo da Merisi CARAVAGGIO; circa 1598; oil on canvas; National Gallery of Ireland, Dublin.
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The Betrayal of Christ; GUERCINO; circa 1621; oil on canvas; National Gallery, London
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Judas’ kiss is often an embrace; the picture on the left emphasizes treachery since Judas embraces Jesus from behind.
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The Kiss of Judas; Thomas COUTURE; oil on canvas; private collection.
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The Arrest of Christ; attributed to CIMABUE; fresco; Basilica St Francis; Assisi, Italy.
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Peter cutting off the ear of the High Priest’s servant becomes the main scene; the kiss of Judas is relegated to the background or lost in the crowd of soldiers. |
The Arrest of Christ; Albrecht ALTDORFER; 1509-16; oil on wood; Augustiner Chorherrenstift, St Florian Abbey, near Linz, Austria
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The Capture; c. 1250; stone; cathedral of Naumburg, Germany
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A phrase and a proverb are derived from this scene. The kiss of Judas is that of the false friend, of the traitor par excellence.
“Who uses the sword will perish by the sword”. The proverb is completely out of context and defends non-violence. The saying is very general and does not apply to St Peter who is crucified to death.
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BIBLE PICTURES © Serge Ceruti and Gérard Dufour 2008