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After ignoring the first half of the Super Bowl, Huck's eyes light up during the half-time show as the Boss took the stage -- he walked right up to the TV.
We could have another rock star on our hands.
Dessiné au feutre à pigment et colorisé sur Photoshop.
Plus de dessins sur dessinslucas.canalblog.com
Drawn with a pigment liner, colors with Photoshop.
More drawings at dessinslucas.canalblog.com
The series of carvings on Christ’s Passion is featured in the centre of the first five bays to the south of the Prior’s Door. It comprises Flagellation, the Carrying of the Cross, the Crucifixion the Resurrection, and the Harrowing of Hell. The foliate carving predominant in the earlier bosses of this walk is an ever present feature in this Passion sequence, but here the foliage takes on a subordinate but symbolic role. In the Flagellation, for instance, the vine leaves not only circle the main carving in which Christ is bound to the trunk of a vine, but bunches of grapes appear between the scourgers and Christ and vine leaves overlap the scourgers’ tunics. This gives a fresh connotation to 'I am the true vine’ (John 15. 1). In the carving of the Crucifixion foliage springs from all the extremities of the cross as though the body of Christ gives life to the dead wood. Analogies with contemporary manuscripts are not confined to foliage, hybrids, and grotesques. In this Passion sequence, for instance, the Carrying of the Cross can be compared with a similar image in the Luttrell Psalter where the torturer carrying the three spikes aloft pulls Christ after him.
The scene is set within a wreath. Leaves reach into the middle of the boss to lap over the figure of Christ and to cover part of the torturer who holds the three spikes with which he will nail Christ to the cross. In his right hand he clutches the shaft of a substantial claw-hammer. Christ carries the cross, parts of which have broken off, over his right shoulder. He is naked apart from a drooping loin-cloth. He looks back over his right shoulder towards the torturer who holds the three heavy-headed spikes in his left hand within the right-angle made by the upright and the horizontal arms of the cross. The torturer's head is craned backwards, echoing the angle.
The scene of the Crucifixion with Mary standing to the left of the cross and St John, holding a book, to the right is not only akin in style to such scenes in contemporary manuscripts but probably mirrors the figures on the rood screens erected across the west end of most chancels in cathedrals and parish churches throughout the country in the fourteenth and fifteenth centuries.