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The picture was voted Scotland's favourite painting in 2006, with 29% of the vote. At the time of its purchase by Honeyman, the verdict by modern art critics was that producing such a traditional painting was a stunt by an artist already famous for his surrealist art. Critical reception Ĭhrist of Saint John of the Cross has continued to generate controversy. In 2022, the painting was loaned for a five month period to The Auckland Project in Bishop Auckland, County Durham to be displayed alongside El Greco's painting of Christ of the Cross. In 1993, the painting was moved to the city's St Mungo Museum of Religious Life and Art, returning to Kelvingrove for the latter's reopening in July 2006. It was restored over several months by conservators at Kelvingrove and returned to public display. In 1961 a visitor attacked the painting with a stone and tore the canvas with his hands. The painting first went on display at the city's Kelvingrove Art Gallery and Museum on 23 June 1952. The controversy caused Honeyman and Dalí to become friends, corresponding with each other for many years after the original acquisition. The purchase was controversial and a petition against it, arguing that the money should be spent on exhibition space for local artists, was presented to the Corporation by students at Glasgow School of Art. Honeyman bought the painting for £8,200, a price considered high at the time although it was less than the £12,000 catalogue price, and included the copyright, which has earned Glasgow Museums back the original cost many times over. The painting and intellectual property rights were acquired for Glasgow Corporation in 1952 by Tom Honeyman, then the Director of Glasgow Museums. The depicted body of water is the bay of Port Lligat, Dalí's residence at the time of the painting. In order to create the figure of Christ, Dalí had Hollywood stuntman Russell Saunders suspended from an overhead gantry, so he could see how the body would appear from the desired angle and also envisage the pull of gravity on the human body. On the bottom of his studies for the painting, Dalí explained its inspiration: "In the first place, in 1950, I had a 'cosmic dream' in which I saw this image in colour and which in my dream represented the 'nucleus of the atom.' This nucleus later took on a metaphysical sense I considered it 'the very unity of the universe,' the Christ!" The circle represents Unity: all things do exist in the "three" but in the four, merry they be. The triangle, since it has three sides, can be seen as a reference to the Trinity, and the circle may be an allusion to Platonic thought. The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms the circle is formed by Christ's head). The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. ![]() Total scores on the Fat Phobia Scale and scores on all six factors decreased significantly, indicating a decrease in fat phobia.Crucifixion sketch by St. Subjects completed the Fat Phobia Scale before and after a treatment approach designed to reduce their feelings of responsibility for fatness. ![]() Study 2 examines fat phobic attitudes of women (N = 40) who had negative feelings about their bodies. Respondents who are average weight, female, younger, have more than a high school education, or are nonmedical professionals are more likely to have fat phobic attitudes. ![]() Subjects (974 females and 117 males) completed the scale factor analysis yielded six factors. Study 1 describes the development of the Fat Phobia Scale, a 50-item, modified 5-point semantic differential scale. We examined fat phobia, defined as a pathological fear of fatness, by constructing the Fat Phobia Scale, determining its reliability and validity, examining correlates of fat phobia, and using a treatment approach designed to decrease fat phobia.
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