In a final and dramatic vision of his resurrected body, Jesus leaves his disciples in awe and wonder as his crucified and risen body now enters divine glory.Ī full-page illustration of the Ascension of Christ from the late 6 th century is an exquisite example of early Christian art offered here as a visual Gospel for our contemplation. This description of Jesus’ Ascension into heaven unfolds in the opening chapter of the Acts of the Apostles. This stroke, this clear line, bears the full responsibility not only for drawing the objects and situating them intelligibly, but also for expressing emotions, and finally for giving them the meaning (here, a theological one) that the artist intends to confer on the image he issues.Ī s they were looking on, he was lifted up, and a cloud took him from their sight (Acts 1:9). This language assumes that each element is delineated by a black line of constant thickness, forming a cell that is destined to receive a given color, without gradations of intensity or shading. This Visitation dates from the very late 12th century, when Catalan Romanesque art, which at first had been influenced by the Byzantine-Lombard style, underwent an original development, ending (as we see here) in the inspired adoption of the “clear line.” This graphic language-which became necessary as early as the 11th century for the production of leaded stained-glass windows-would be adopted and theoretically defended in the mid-20th century by the ingenious Belgian cartoonist Hergé, the creator of Tintin, in response to the technical constraints imposed at the time by the process of printing comic strips in color.
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