Entry into Jerusalem

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So the first image we are going to look at is the depiction of Jesus Christ entering Jerusalem for Passover, this day now known as Palm Sunday

As they approached Jerusalem and came to Bethphage and Bethany at the Mount of Olives, Jesus sent two of his disciples, saying to them, “Go to the village ahead of you, and just as you enter it, you will find a colt tied there, which no one has ever ridden. Untie it and bring it here. If anyone asks you, ‘Why are you doing this?’ say, ‘The Lord needs it and will send it back here shortly.’

 They went and found a colt outside in the street, tied at a doorway. As they untied it, some people standing there asked, ‘What are you doing, untying that colt?’ They answered as Jesus had told them to, and the people let them go. When they brought the colt to Jesus and threw their cloaks over it, he sat on it. Many people spread their cloaks on the road, while others spread branches they had cut in the fields.  Those who went ahead and those who followed shouted,

‘Hosanna![a]’

‘Blessed is he who comes in the name of the Lord!’[b]

Blessed is the coming kingdom of our father David!’

‘Hosanna in the highest heaven!’ Mark 11:1-10

Now Duccio di Buoninsegna or Duccio was a very popular painter. This is his painting Entry into Jerusalem.

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This is one of the 26 images painted on the back of the Maestà altarpiece. Duccio’s work was closer to the flat Byzantine style, that occurred before this period. His work tends to have no perspective, as in the spacing to create realistic distances, and is usually very staged.

Like most artists of the time, Duccio was more focused on showing all the people and the action, rather than depicting a realistic scene. For instance having all the disciples grouped together to the left, overlapping bodies to show faces clearly, rather than having some completely overpass the others as they would look in a real crowd.

The crowd on the left is interesting, as the children look more like miniature adults. The people too are arranged as steps in a staircase in order to see all of their faces rather than depict them as one would see people grouped together.

Duccio played very close attention to the text and tries to represent every aspect of the story in his artwork. He makes sure the all the players: from disciples to palms to the donkeys to the crowd-have a place in the painting.

Something that is very unique about this particular painting of Duccio’s is that he choose to create a type of perspective in this piece as you can see with the building in the background and the men in the trees, although the men are not quite proportionate.

In the foreground we also see that Duccio has created a strong landscape with rocks and trees. The tree directly behind Jesus’ head is supposed to represent the fig tree that Jesus withers in a later verse, Mark 11:12-26.

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For more on Duccio, go to The Betrayer’s Kiss

For more depictions of Jesus’ entry, go to The Triumphal Entry

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The Betrayal of Christ

And our journey to Easter continues along…

So the next part I am going to cover is the betrayal of Christ in the garden of Gethsemene and his sentence before Pilate. I chose Giotto’s image, The Kiss of Judas, because historically it is one of the best images that portrays this scene. Giotto was one of the pioneers of Renaissance, looking toward depicting art in a more natural sense, much different from the flat Byzantine style that his contemporaries like Duccio were doing.

In this image the viewer is given “a window onto a world”; that is we are seeing the scene as we would in real life. People overlap each other, there is movement, emotions, etc. Giotto was the pioneer of creating these emotional realistic scenes, that later artists would eventually copy.


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“Judas, one of the Twelve, appeared. With him was a crowd armed with swords and clubs, sent from the chief priests, the teachers of the law, and the elders. Now the betrayer had arranged a signal with them: ‘The one I kiss is the man; arrest him and lead him away under guard.’ Going at once to Jesus, Judas said, ‘Rabbi!’ and kissed him. The men seized Jesus and arrested him.”–Mark 14:43-46

“Then Simon Peter, who had a sword, drew it and struck the high priest’s servant, cutting off his right ear…Jesus commanded Peter, ‘Put your sword away! Shall I not drink the cup the Father has given me?’– John 18: 10-11

“And he [Jesus] touched the man’s ear and healed him.” Luke 22: 51

“Put your sword back in its place,’ Jesus said to him, ‘for all who draw the sword will die by the sword. Do you think I cannot call on my Father, and he will at once put at my disposal more than twelve legions of angels? But how then would the Scriptures be fulfilled that say it must happen in this way?’ In that hour Jesus said to the crowd, ‘Am I leading a rebellion, that you have come out with swords and clubs to capture me? Every day I sat in the temple courts teaching, and you did not arrest me. But this has all taken place that the writings of the prophets might be fulfilled.”–Matthew 26: 52-56

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For more on Giotto, go to The Triumphal Entry

For more Easter posts, go to The Last Supper

For more paintings on Christ being betrayed, go to The Betrayer’s Kiss