A Meal of Gruel in a Dutch Peasant Family is an engraving done by A. Van Ostade in Paris in 1653. During this time era, there were many wars taking place, like the Thirty Years War, and this time was in the middle of the age of exploration. Since most of the wealth of the Dutch Republic, as well as all over Europe, was going towards funding these great trade journeys and for setting up settlements across the ocean, the peasants back in Europe, like the Dutch, were working hard to make money, only for it to go to these certain voyages. Most of them were starving, show in the etching of the family eating gruel instead of hearty foods. Since the artist lived in Paris, he probably saw this all the time around him, if not felt it himself.…
The Annunciation with Saints Ansanus and Margherita is proclaimed to be one of the greatest if not the most magnificent art piece of the Gothic time period. This piece was originally created for the side alter in the Sienna Cathedral but after being passed on to many different Churches it is now located in the Uffizi Gallery in Florence, Italy. In this piece the artist has placed a large amount of iconography into it. The Easiest hidden icon to distinguish is the lilies in the vase in the middle of the picture showing the purity of Mary. Along with the Lilies the artist also has the Archangel Rafael holding an olive branch which is the symbol of peace showing he means no harm to Mary. Lastly, the author also has the Holy Ghost coming down from Heaven surrounded by eight angels representing the Holy Spirit or God is coming into her. Along with all of the iconography there are many other unique characteristics of this picture. For example, it as Mary looking as if she is afraid or startled by the Archangel Raphael coming into her house where as in the majority of the other annunciation pictures Mary is almost welcoming Raphael into the building. Another significant characteristic of this picture is the architecture and…
painted by Jan Van Eyck known as a God Panel known as the Ghent Altarpiece, made around…
The church was designed in such a beautiful way that people come just to see the decorated chapels. There are two of these chapels - the lower chapel and the upper chapel. The lower chapel is highly decorated, and is dedicated to the Virgin Mary. During the reign of King Louis IX, this area of the cathedral was reserved for palace staff. The architecture in this chapel is stunning; the ceiling is painted to appear a starry sky, the walls hold representations of the Apostles, and even the floor holds tombstones of reverends and treasurers of the Sainte-Chapelle. The one negative thing about the lower chapel is that it is quite dark. This is a contrast to the upper chapel. The upper chapel is light and full of color, and is known as the “Highlight of the Monument.” The decorations show art and religion working harmoniously, and there is a sense of holiness in this area because this is the chapel in which the Holy Relics were kept. Although both of these chapels are very beautiful, perhaps the most beautiful thing of all in this cathedral are the stained glass windows. Appearing in dominant colors of blue and red, there are about 600 square meters of these stained glass windows. The art dates back to a long time ago - the twelfth century craftsmanship is ancient, yet so perfect to the cathedral. What is even more stunning about these window panes is that they can be read in arches that go from left to right. In fact, they tell…
c. a flat, gold background worked with a pattern punch. d. dim colors and a somber mood. Answer: a 34. The Ghent Altarpiece is a a. diptych.…
Low-relief carving. The top of the altar features a carving with a non-human like face, representing the cosmos above. The human like sculpture…
The first panel is the donors that commissioned the painting by Campin, the second panel is the same Annunciation scene of Mary and Gabriel but depicted quite differently, and the third panel is Saint Joseph. This painting pays close attention to clarity and detail, with varying colors and realism. The painting is in oil, and has a style that reflects the Northern Renaissance period. For example, the angel and Mary do not have halos, and it lacks linear perspective. The lack of halos, as well as Mary’s face (which doesn’t seem too happy about the fact that she is about to conceive Christ’s child) could relate to the religious separation that Northern Europe was experiencing during the Renaissance. Northern Renaissance art is very well known for its symbolism, and in this painting nearly every object is symbolic of spiritual ideas (Harris). For example, lilies represent Mary’s virginity, Joseph’s tools represent the Passion of the Christ, and the extinguished candle represents God taking human…
Located at the entrance of the third floor that was designated as Europe, I chose a three dimensional sculpture that is called the Archangel Saint Michael Vanquishing Satan by Henry High Armstead. This sculpture was started and finished in the year 1852. There was no art work next to the piece I chose but on the other side of the wall that it was on there was a painting called The Virgin and Child with Saints in a Landscape by Alessandro Tiarini. The Virgin and Child with Saints in a Landscape is an oil painting done on a canvas in 1640. This sculpture is a cast statue based on one of the saints. It was created to show the strength of Saints and how they were loyal, and angelic hosts of heaven out of a bronze material that was shaped and carved. The art work was purchased by the…
Altar 8: “…So when you take an object, say a family photograph, and place it in an altar next to a saint, you are basically saying to the saint, ‘Pray for this person…’ (Turner, 96). In this altar there is an image of Our Lady of Guadalupe as the central focus. There are also, some other religious images, such as the one of Jesus (left frame on the wall). Surrounding the image of the Lady of Guadalupe are many portraits of what appear to be family members, particularly babies. The frames with the infants could be grandchildren of the owner and they might be there to be protected by the Lady of Guadalupe, who also happens to be a mother.…
The Cathedral of Saint John the Divine is simply breathtaking. From the exterior to the interior of the cathedral, you can find plentiful amounts of highly sophisticated bodies of work. Before laying a foot inside, the massive bronze doors containing forty-eight relief panels depicting scenes from the Old and New Testament catches the eyes of many. Also, many note the exquisite statues and carvings of saints and Jesus all along the Western Front of the Cathedral. Once inside, the enormous pilier-cantonnés stand along the nave aisle, where it erects up into the ceiling. Eventually, the columns meet with one another at four angles, creating a quadripartite vault in the nave ceiling. The stained glass windows that lines the entire cathedral strikes your retina at all different angles as you rotate your body. A little beyond the crossing, the high altar contains a magnificent cross, as well as an iron tomb of the man who founded the cathedral. If you focus the eyes just behind the choir, you will glare at seven stunning radial chapels—each one representing an apostle, a patron, or immigrant. But out of all the marvelous artwork within and outside the chapel, there was one particular window that caught my attention.…
The nine elements of composition are: dynamic vs. stable, balance, rhythm, line, textures, masses, space, color, and modeling (36-76). The composition of “The Annunciation” is mostly stable, from the straight lines of the walls, the rays of light, and the upright positions of Mary and angel Gabriel. It is also partly dynamic because of the folds of fabric, the arches towards the ceiling, and angel Gabriel’s wings. There is evident rhythm from the repeated rays of light, hands, and wings. Although the textures in the painting are only simulated and not real, they are extremely realistic. Especially on the clothes, hair, and skin. The three largest masses in the painting are Mary, then archangel Gabriel or the large red bed behind Mary, then God off in the distance of the painting. Master of the Retable used all the techniques of space that Gill mentions: a register line, overlapping, foreshortening, diminishing size, aerial perspective, and scientific perspective. The sense of space in this painting is spectacular and is something that artists of the Renaissance and High Renaissance were able to achieve for the first time. There are many warm colors, for example, the bed behind Mary, the outside of archangel Gabriel’s cloak, God’s clothes, and Mary’s hair. The cool colors of the painting include Mary’s clothes and the landscape outside. The light source…
a. How does this work relate to its style movement and historical context? The monumental Gate of Ishtar was built in 575 B.C. making use of enamelled bricks which are in cobalt blues and sea greens. The gate is decorated with reliefs of 575 dragons and bulls (BBC Culture, 2009). The gate is the most potent symbol of ancient Babylon’s magnificence. The gate was marks the entrance to the city at the beginning of the Procession Street which represents an important thoroughfare that had been the site of parades during new years’ celebrations. It was the eighth gate of the city of Babylon (BBC Culture, 2009). The Ishtar Gate was constructed as part of King…
Erwin Panofsky was a prominent art historian of the twentieth century. He also was one of the foremost proponents of iconography, and attributed symbolic meaning to the various elements of the Arnolfini scene. He attributed the scene to be a document of the marriage between Giovanni Arnolfini and his wife in 1434. Panofsky argues that there are symbols in the painting that point towards a marital union and gives the work its nuptial significance.…
When first glancing at the painting, most of the attention is grabbed by the fair composition of the character that is “Eve”. She appears to be glowing in contrast to the darkness of rest of the painting. It appears as though the light source is shining from beyond the right side of the painting, as Eve, part of the tree in the foreground, and the visible parts of “death”, or “Adam” are illuminated. The background, however is shrouded with darker colours, only few shapes and lines are visible giving the representation of dense shrubbery occupying the background. There is some shading used on Eve’s body parts, but not as dramatic as the shading of the tree, which almost has a half-dark, half-light appearance.…
Jan Van Eyck’s painting; “The Arnolfini Portrait” depicts Giovanni di Nicolao Arnolfini and his wife. Arnolfini was a merchant from a city in Tuscany, Italy, called Lucca. The Arnolfini family was very powerful. People often say that the woman in the painting is pregnant, but that is not the case. In fact, she is holding her full-skirted dress to her stomach, because that was the contemporary fashion. Jan Van Eyck was really interested in the effects of light in paintings, and used it a lot. Van Eyck was very clever when signing his works. For example, the ornate latin signature above the mirror in the painting roughly translates to “Jan Van Eyck was here 1434” The overall painting is very good, Van Eyck…