Mark Edward Westerfield THE KIND FACE OF JESUS Tile

Mark Edward Westerfield THE KIND FACE (WITH CONCERN) OF JESUS Artificial Intelligence computer painting colourization in the style of a 16th Century (1500's) Italian Art Renaissance Painting and Religious Devotional Images and Devotional Icons. After a photo of an all white Carrara Marble 16th Century (1500's) Italian Art Renaissance Period sculpture in Rome which for 300 years had been attributed to Michelangelo until about 200 years ago. Then, in March, 2026 it was proposed that it be re-attributed to Michelangelo after a decade of research by an Italian author preparing to write a historical novel concerning the Michelangelo family resulted in discovering historical documentation that mentioned an agreement between Michelangelo and his inner-most circle a group of loyal friends and students called The Brotherhood of the Most Holy Crucifix who together held the 3 keys all 3 needed to enter a secret room where a few ... perhaps 20 ... works of Michelangelo (sculptures and drawings) that Michelangelo secretly gave to his inner-most circle for safe keeping and future study rather than be dispersed by his family. In the last part of June and early part of July, 2026, I used Pixlr E to computer colourize a photo of this sculpture as best I could and applied various computer painting and lighting applications using another photo edit application creating at least some 20 versions some which turned out to be interesting, but, I was not satisfied with some of the results and decided to start all over from scratch but this time depending entirely at first on my long detailed prompts to Gemini giving a Gemini a copy of the original photo minus the busy background I had deleted and asked Gemini for the following colourization requirements: Chocolate candy dark brown hair and beard keeping the sculptural look of that sculpture, a Middle Eastern / Jew / Hebrew complexion (not too white not too dark), regal noble nose and high cheekbones, natural colour lips (not like lip stick), a very slight pink tint to the cheeks, beautiful reflective brown eyes with a kind look of concern, and a pure white robe with shiny metallic pure gold look trim at the neck line to which Gemini added a beautiful design in the 4th result. I gave a total 3 prompts with corrections and Gemini gave me a total of 4 results. I used my other computer photo image editing apps to created a pale warm golden buff background around the figure using a magic want tool that happened to leave a soft white glow around the figure that I kept then I decided to add a gradient vignette only in the magic wand selected area but not over the pure white robe ... then, I tried an idea that I never before tried to tint the vignette a warm brown which was better than the black and then I lightened all the background to blend in with the outer white glow around the figure which looked great to me. Then, I made a scary decision to try to correct the proportion of the upper head and lower head which the sculptor had apparently exaggerated to give the illusion of looking upward to Jesus on top of the possibility the photograph was slightly upward angle ... making the top of the head in my 20 earlier versions look too small to me .. almost disturbingly so ... I used the tools I had to change to a better proportion doing better than I hoped. I worked on the eyes to try to make them more even ... the head is slightly at a tilt and the shoulders are at an angle so I was just doing my best to see if I could improve the picture ... of course the sculpture was all white and the eyes were not clearly defined in the photo so it was a challenge more than you realise. I left the head still lightly looking upward to Jesus ... which looks right to me. I made the image sharper, I made the eyes have more equal highlights, I was so amazed at the result ... for some reason I like the gloss finish that some items have on this ... so I made a gloss poster and gloss stickers. I hope you love the result. Jesus with beautiful reflective brown eyes of concern. Shiny sculptural hair and beard. Shiny metallic pure gold look trim. Thank You for your like, follow, share, and support. After THE BUST OF CHRIST THE SAVIOR by MICHELANGELO Computer colourization by Mark Edward Westerfield July - August, 2026 Lost Michelangelo re-attributed by found paperwork historic documents. The all white Carrara Marble Bust of Christ the Saviour. It sat hidden in plain sight at Rome's Basilica of Sant'Agnese fuori le mura. "The Brethren of the most Holy Crucifix" "The Brotherhood of the Most Holy Crucifix" "The Compagnia del Santissimo Crocifisso" Gemini helped me a lot with this version. I asked Gemini for help using a long specific detailed prompt: Chocolate candy dark brown hair and beard keeping the sculptural look of the all white Carrara Marble 16th Century (1500's) Italian Art Renaissance Period sculpture found in Rome The Bust of Christ the Saviour proposed re-attribution to Michelangelo in March 2026, beautiful reflective brown kind eyes, Middle Eastern / Jew / Hebrew complexion with noble regal nose and high cheek bones, slightest pink tint to the cheeks, and pure white robe with shiny metallic pure gold look trim at the neck line. I had deleted the busy background in the photo so I could experiment with various backgrounds myself. Today, I applied a slight vignette gradient (tinted warm brown) to the pale golden buff background then lightened it to suggest a hint of halo look. I think this has been my best version so far. I hope you love this. I am in the process of posting 3 sizes of cards, a historical postcard, T-Shirts, ceramic coffee mugs, fine art print posters, fine art stretched canvas prints, high gloss stickers and more. THANK YOU, my friends! Mark Edward Westerfield, Monday, July 28, 2026. www.zazzle.com/markewesterfield (2015 - 2026) Computer colourization by Mark Edward Westerfield 2026 Lost Michelangelo re-attributed by found paperwork historic documents. Marble bust of Christ the Saviour. It sat hidden in plain sight at Rome's Basilica of Sant'Agnese fuori le mura. THE LAMB OF GOD John 1-29 NKJV 29 "The next day John saw Jesus coming towards him, and said, 'Behold! The Lamb of God who takes away the sin of the world!'" Michelangelo full name Michelangelo di Lodovico Buonarroti Simoni. (6 March 1475 – 18 February 1564) He was lauded by contemporary biographers as the most accomplished artist of his era. Michelangelo di Lodovico Buonarroti Simoni was born on 6 March 1475 in Caprese, known today as Caprese Michelangelo, a small town situated in Valtiberina, near Arezzo, Tuscany. For several generations, his family had been small-scale bankers in Florence; but the bank failed, and his father Ludovico briefly took a government post in Caprese. At the time of Michelangelo's birth, his father was the town's judicial administrator and podestà (local administrator) of Chiusi della Verna. Michelangelo's mother was Francesca di Neri del Miniato di Siena. The Buonarrotis claimed to descend from the Countess Matilde di Canossa—a claim that remains unproven, but which Michelangelo believed. Michelangelo was moderate in his personal life, and once told his apprentice, Ascanio Condivi: "However rich I may have been, I have always lived like a poor man." Condivi said he was indifferent to food and drink, eating "more out of necessity than of pleasure" and that he "often slept in his clothes and ... boots." His biographer Paolo Giovio says, "His nature was so rough and uncouth that his domestic habits were incredibly squalid, and deprived posterity of any pupils who might have followed him." This, however, may not have affected him, as he was by nature a solitary and melancholy person, bizzarro e fantastico, a man who "withdrew himself from the company of men." His Love Sonnets ...displaying deep loving feeling, was written to the young Roman patrician Tommaso dei Cavalieri (c. 1509–1587), who was 23 years old when Michelangelo first met him in 1532, at the age of 57. According to Gian Paolo Lomazzo, Michelangelo and Raphael met once: the former was alone, while the latter was accompanied by several others. Michelangelo commented that he thought he had encountered the chief of police with such an assemblage, and Raphael replied that he thought he had met an executioner, as they are wont to walk alone. Documents uncovered during this research pointed to a locked, three-key chamber where Michelangelo's associates secretly stashed his drawings and sculptures to safeguard them. Her study suggests the bust does not simply portray Christ, but was actually modelled on Tomaso de' Cavalieri, a young Roman nobleman and a close collaborator for whom Michelangelo held a deep affection. Michelangelo's work transcended that of any artist living or dead, and was "supreme in not one art alone but in all three" (sculpture, painting frescoes, architecture) (... as well as Love Sonnets). A marble bust of Christ the Saviour located in Rome's Basilica of Sant'Agnese fuori le Mura has been re-attributed to Renaissance master Michelangelo Buonarroti. Previously considered the work of an anonymous 16th-century Roman artist, the piece was formally reclassified following a decade of rigourous documentary research. The significant re-attribution of the sculpture highlights the detective work of an independant researcher, who unveiled the findings. Key aspects of the discovery include: Archival Evidence: She based her conclusions on notarial records, posthumous inventories, and historic correspondence spanning back to 1564, rather than stylistic analysis alone . Challenging Historical Assumptions: The documents revealed a discreet network used to safeguard the artist's final works, directly challenging the long-held belief that Michelangelo systematically destroyed his late-stage sketches and sculptures. Provenance: The records demonstrated that the bust remained safely hidden in the basilica's liturgical space and secondary storage, keeping it entirely off the public art market. The Legacy of Michelangelo: The research into the Christ the Saviour bust is expected to open the door to attributing other lost or forgotten works to Michelangelo Buonarroti's portfolio. Gemini generated most of this image from a photo of the all white Carrara Marble 16th Century (1500's) Italian Art Renaissance Period sculpture found in Rome that for about 300 years was attributed to Michelangelo until questions arose but the documentation then was lost so it was posted as anonymous about 200 years until early March 2026 when it was announced that a ten year research towards a historical novel by an Italian author happened to turn up historical documentation that was thought to be enough to re-attribute the sculpture to Michelangelo again. I computer colourized the photo best I could and applied computer painting and lighting effects until I had about 20 versions. Finally, I prompted Gemini supplying the photo of the all white sculpture and giving Gemini a long specific detailed prompts that I wanted dark brown hair, reflective brown kind eyes, Middle Eastern / Jewish complexion, bigger nose, pure white shirt with metallic pure gold look trim at the neck line. I already deleted the busy background so I could add whatever I wanted which needed to be pale since the image was so dark. The eyes turned out the best. Gemini's response: This image features a detailed, stylised digital depiction of Jesus Christ, modelled after classical European and Renaissance art traditions. Here are the key details and visual elements of this depiction: Visual Features & Artistic Style Facial Features: The portrait portrays Jesus with deep brown eyes, symmetrical facial structure, defined cheekbones, and a serene, gentle expression looking directly forward. Hair & Beard: He has long, dark brown, shoulder-length wavy hair with rich shading and highlights, paired with a neat, well-groomed beard and moustache. Attire: He is depicted wearing a white garment featuring a decorative, detailed golden embroidered trim around the neckline. Lighting & Modelling: The lighting gives the face a smooth, sculpted appearance—reminiscent of polished marble, porcelain, or high-detail digital 3D rendering. Background & Frame: The subject is set against a soft, warm radial gradient background (fading from light cream to subtle gold) framed by a solid gold border. Iconographic Context This depiction draws heavily on traditional Devotional Art (often seen in holy cards, religious prints, and statues) rather than historical realism. It reflects a classic Western Christian iconography style, emphasising idealisation, calm divinity, and approachable compassion. The smooth shading and golden highlights give it a contemporary digital aesthetic while retaining the proportions of traditional sacred art. Every time I magnify this image it just gets better! I hope you love this!