painted by Jan Van Eyck known as a God Panel known as the Ghent Altarpiece, made around…
Looking at the image, in the upper left hand corner, the viewer sees a figure that is enclosed by bars. Moving to the right, faces appear on the wall. Continuing to look right, a mirror is…
To the right of the altar, is a statue of Jesus with the Sacred Heart. This statue is both iconic, in that it is an image of Jesus, and anionic with the Sacred Heart with the crown of thorns. The Sacred Heart is a representation of Jesus’ love for humanity. Along the wall is a painting of Saint Joseph, holding a Jesus as a child. There is also a statue of Saint Joseph as the patron saint of the Catholic Church. Below this painting is an altar where the wine and holy Eucharist are stored when not being used during mass. On the left side of the altar is an iconic painting of the Blessed Virgin Mary. She is the mother of Jesus and along with the painting of Saint Joseph holding the Child Jesus is a representation of the Holy Family.…
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…
artists, Two Angels by Duccio di Buoninsegna from the Middle Ages and the Mona Lisa by…
The Arnolfini Portrait by Jan Van Eyck is one of the most famous paintings shrouded in mystery. This picture depicts a wealthy couple holding hands in the bedchamber of their Flemish home. The couple is unidentified and many assume it is Giovanni di Nicolao Arnolfini a merchant from Bruges and his wife Costanza Trenta in 1426. The man is where is large black hat with a fur pull over with a black shit underneath and black shoes. The woman is where a white 14th-15th century styled headdress with a green and blue dress style dress which is holding up some extra fabric in her dress to simulate a pregnant belly.…
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…
Jan van Eyck painted a realistic figure of the chancellor. His drape is velvet color with fur decorated in gold designs, symbolizing wealth and his position in the country during the time. In the commission of this painting, Rolin wanted his portrait to be show equal level with the Virgin Mary, rather than below her. This decision gave Rolin many criticisms. Chancellor Rolin’s gaze is what strikes the viewer at first. The expression from his face is concentrated into one thing. It’s strong and piercing face enhances the deep eyebrows of the Chancellor. His nose and cheekbones are sharp, with large ears protruding behind the face. His haircut is almost like a traditional bowl cut which is quite funny compared to the modern ages. However, there is no doubt that the bowl like haircut is the trend in the early Renaissance. There is a purple cushion on top of the prayer stool standing in front of the chancellor. It is most likely that the book on top of the cushion represents the Book of Hours. The book is lying open with brief texts pointing at the Chancellor. The Chancellor seems to be looking elsewhere and not directed at the Virgin Mary and her Child. The same can be said for Mary and Christ, as the three profiles do not submerge their gaze upon each…
Therefore, it is clear that the core of the foreground scene is depicting Matthew 2:11: “On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure-chests, they offered him gifts of gold, frankincense, and myrrh.” This scene takes place in the day time, which is interesting, as there is a small circle in the top center of the painting that I believe is the “star” alluded to in verse 10. However, logically, stars are rarely seen during the day…
Many of the objects depicted in High Renaissance paintings were there for a reason. In “The Annunciation,” Mary is the largest figure and the main focus. She is shown facing front, with her head tilted toward the floor and her eyes almost closed. In her left hand she is holding the Bible, representing her devoutness to God, her right hand is raised, all fingers pointing up. Archangel Gabriel is on the left side of the panel, shown smaller and wearing the ornate vestments of a priest. His clothes symbolize the similarity between him and the clergy of the Church: they both share the word of God. They are both wearing very loose fitting clothing that have many folds. The Holy Trinity is represented here by God, baby Jesus carrying his cross, and a dove, often a symbol of the Holy Spirit. They are all connected by seven rays of light, flowing directly from God’s mouth onto Mary. The seven rays represent the seven days it took God to create the universe. Gold is used as a symbol to represent divinity (Smith). White lilies in a vase between angel Gabriel and Mary often symbolized Mary’s purity. Written on the vase is “Ave Regina,” representing the Hail Mary prayer. The Latin words written in gold are archangel Gabriel telling Mary, “‘Behold, you will conceive in your womb and bear a son, and you shall name him Jesus’” (Luke 1:31). Symbolism can also be found in the frame of the painting. The three arches at the…
Eventually it hit me why I was drawn to this particular painting out of all the rest. It was the fact that probably no one else thought to wonder other then Tissot, what Jesus saw, or for that matter, what exactly was on his mind as he was nailed to a cross looking down on all the people that were looking up at him. Yet in Tissot’s mind’s eye, after reading this biblical story came up with the idea to paint this portrait from the viewpoint of Jesus. I find this to be absolutely amazing to come up with this idea.…
Jan Van Eyck's "Man in a Red Turban" is a completely secular portrait without the layer of religious interpretation common to Flemish painting at that time. In this work the image of a living individual apparently required no religious purpose for being, only a personal one. As human beings confronted themselves in painted portraits, they objectified themselves as people. In this confrontation, the man van Eyck portrayed looks directly at the viewer, or perhaps, at himself in the mirror. The composed gaze directed from a true three-quarter head pose, must have impressed observers deeply. The painter created the illusion that from whatever angle a viewer observes the face, the eyes return that gaze. The artist created a heightened sense of reality into this portrait by including beard stubble, veins in the bloodshot left eye, and weathered and aged skin. The possibility that Man in a Red Turban is a Van Eyck self portrait seems to be reinforced by the inscriptions on the frame, across the top, Van Eyck wrote "as I can" in Flemish using Greek letters, and across the bottom in Latin appears the statement "Jan Van Eyck made me" and the date. Judging from the form of the painting I would have to say that the Man in a Red Turban is probably a portrait of Jan Van Eyck himself.…
Rembrandt made his studies from life rather than take the figures from Lucas van Leyden’s memorial altar and etching of this theme.10 In this painting the use of chiaroscuro again highlights the thick folds in the garments worn by the apostles. There is only one source of light, it comes through the window and draws attention to Pauls face and the bible he is pointing at. “He abandoned the bright, metallic colour range favoured by Lastman. In its place Rembrandt modified a then fashionable Caravaggesque idiom, by concentrating light in one focal point and for the rest working in a muted tone, which gave maximum effect to resonant colour. He was always to rely on this inherently dramatic use of light.”11 You can see his use of smooth strokes carefully depicting details from the wrinkles in the faces of the apostles, too the pages of the old books. Notice how Rembrandt has left out the attributes that so often represent Peter and Paul, the key and the sword. Christian Tumpel said he did this so that he could make the “history recognisable by the depiction of place.”12 This was also achieved by the placement of academic objects surrounding the two men; the globe would suggest the international importance of their discussion. One of Rembrandts most desirable traits was how he chooses to paint the more unobvious and obscure moments of historical scenes using subtle detailing to show what the…
The art work is considered a monumental sculpture and was created around the 1100’s. Many of the churches had elaborate and decorative sculptures, six of the plaques represent angels and apostles while one only represents Christ sitting which is the Christ of Majesty. The sculpture is made out of marble and is located in southern France. The sculpture was also deemed holy to the pilgrims since it was a symbolization of Christ. The Christ of Majesty in most works is usually sitting down on a throne as the ruler or leader of the world, the figure is also created in composition that is frontal centering the figure in the middle and making Christ the center of everything. Although founded in the Romanesque, Medieval era, the images itself originally comes from Early Christian art which was borrowed in attempt to recreate the picture as a sculpture by making the figure…
shows how nicely royalty was treated and how grand the king’s palace was. It could have also been used by Velazquez to demonstrate to Philip IV how he thought of him. The fact that the Monarchs are in the mirror but not in the painting itself gives them a sort of god-like presence. This could’ve been done to demonstrate Velazquez loyalty to the…