| The Biblia Sacra was published in 1969 by Rizzoli of Rome. - SIGNATURE : printed in the image - SIZE : 19 x 13 3/4" or 48.26x34.93cm - REFERENCES : Michler and Lopsinger 1600, Field 69-3 - CONDITION : Excellent. New. Original. This is an illustrated book of the Bible in Vulgate. The Biblia Sacra was published in 1969 by Rizzoli of Rome. The lithographs are on a heavy paper and are signed in the plate. The Biblia Sacra lithographs were produced as illustrations for a new edition of the Bible. The Biblia Sacra suite consists of 105 color mixed-technique lithographs after 105 watercolor paintings created by Dali between 1963 and 1964. The Biblia Sacra works are a combination of offset lithography, continuous tone lithography, serigraphy (silkscreening) with application of varnishes and metallic inks. The works were “printed” on a heavy stock designed specifically to hold up to the various techniques used. Quality craftsmanship and artistry are evident in every Biblia Sacra work. The unique combination of multiple printing techniques gives these illustrations a richness and depth that resulted in works that are exceptionally true to the original paintings. Creator: Salvador Dalí (1904 - 1989, Spanish) |
Sagrada Biblia 88
4.750,00$Precio
This is a key moment in the Gospel of Luke 7:36-50, where a woman, described as a sinner (often interpreted as a prostitute or someone living in sin), approaches Jesus while He is dining at the house of Simon the Pharisee. She anoints Jesus' feet with her tears, wipes them with her hair, and pours expensive ointment on them, showing great love and repentance.
Biblical Verse: Luke 7:36-50 (KJV):
"And one of the Pharisees desired him that he would eat with him. And he went into the Pharisee's house, and sat down to meat. And, behold, a woman in the city, which was a sinner, when she knew that Jesus sat at meat in the Pharisee's house, brought an alabaster box of ointment, And stood at his feet behind him weeping, and began to wash his feet with tears, and did wipe them with the hairs of her head, and kissed his feet, and anointed them with the ointment. Now when the Pharisee which had bidden him saw it, he spake within himself, saying, This man, if he were a prophet, would have known who and what manner of woman this is that toucheth him: for she is a sinner. And Jesus answering said unto him, Simon, I have somewhat to say unto thee. And he saith, Master, say on. There was a certain creditor which had two debtors: the one owed five hundred pence, and the other fifty. And when they had nothing to pay, he frankly forgave them both. Tell me therefore, which of them will love him most? Simon answered and said, I suppose that he, to whom he forgave most. And he said unto him, Thou hast rightly judged. And he turned to the woman, and said unto Simon, Seest thou this woman? I entered into thine house, thou gavest me no water for my feet: but she hath washed my feet with tears, and wiped them with the hairs of her head. Thou gavest me no kiss: but this woman since the time I came in hath not ceased to kiss my feet. My head with oil thou didst not anoint: but this woman hath anointed my feet with ointment. Wherefore I say unto thee, Her sins, which are many, are forgiven; for she loved much: but to whom little is forgiven, the same loveth little. And he said unto her, Thy sins are forgiven. And they that sat at meat with him began to say within themselves, Who is this that forgiveth sins also? And he said to the woman, Thy faith hath saved thee; go in peace."
Dalí’s Interpretation in Sacra Biblia
Dalí’s take on "Many Sins Are Forgiven to the Sinful Woman" would likely emphasize the contrast between humility and self-righteousness, with the woman's acts of love depicted as transcendent and transformative. Her tears, hair, and the alabaster box would take on surreal, symbolic significance, highlighting her repentance and devotion. Simon the Pharisee would likely be portrayed as a distorted, shadowy figure, representing spiritual blindness and self-righteousness. The scene would likely explore the eternal impact of forgiveness, with the woman’s transformation shown through surreal elements like melting time or light. The overall composition would be rich in symbolism, focusing on the divine nature of grace and the power of repentance and love.