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This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.
This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.
This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.
This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.
This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.
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Harlequin II Painting

Paul Rossi

United Kingdom

Painting, Oil on Canvas

Size: 30 W x 26 H x 2 D in

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About The Artwork

This is the second in a recent series of parodic treatments of the Christian Nativity theme. These works are inspired, in part, by 15th century Italian treatments of the Christmas story. My intention has been to offer a speculation about the meaning of the Christmas story by connecting iconographic motifs from the early Renaissance tradition with certain motifs that we often find in early modernist painting - the circus, harlequin, the comedia del arte, the saltimbanque. Part of the point of this is to try to disrupt the conventionalism in which the Nativity myth is still conveyed.

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Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:30 W x 26 H x 2 D in

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