We know that the subject matter of both Cimabue’s Madonna and Child Enthroned and Giotto’s Madonna Enthroned depicts the Virgin mother holding her son Jesus Christ upon a golden throne with angels at either shoulder. After looking at Cimabue’s work, it is debatable whether his apprentice Giottos surpassed the man. In manners of skill, Giotto’s more classical and naturalist style took on other stylistic components that very well exhibited a 3-dimensional space upon a 2-dimensional plane. In personal opinion, if the goal was to surpass Cimabue, then Giotto definitely showed prowess by giving his figure of the virgin a more assertive and realistic presence. Both Cimabue and Giotto use the ever-common gold background to unify their pieces. The…
4. In Giotto’s Madonna Enthroned, how does the artist show more naturalism in his painting? In…
Rona Goffen’s “Icon and Vision: Giovanni Bellini’s Half-Length Madonnas” shows how Bellini, and most noticeably his Madonnas, represent the ways that Eastern, Byzantine and Greek, styles effected the western Italian style. Goffen explains the long history of connection with Byzantium which made eastern art not unusual, but a popular style. Bellini used the popular motifs of this style to incorporate into his work; such motifs included Greek letters, a solemn Mary, and his use of half-length which all directly quoted Byzantine and Greek models. These details revealed the Madonnas to be icon paintings and for use in religious worship, not just for aesthetic pleasure, particularly his use of the half-length. This half-length style has a long and ancient history of referencing icons and other figures that were meant to be eternal, just as an icon is the vehicle for an eternal religious presence. This half-length style was not as popular as the full length and enthroned Mary in Venice, a style that Bellini also used and Lymberopoulou points to as an influence on Cretan art. Goffen argues that even though Bellini used some different styles and motifs in comparison to the Byzantine style of making icons, which depended on repetition for its authenticity and spirituality, Bellini still…
The Museum of Fine Arts in Boston contains some of the greatest treasures of the Italian Renaissance, and not least among these is Presentation of the Virgin in the Temple, painted in 1467 by Bartolomeo d. Giovanni Corradini, better known as Fra Carnevale. This Urbinian painter and architect produced some of the greatest architectural paintings of the early Renaissance, and his techniques expressed an interest in the progression of the Italian Renaissance style of classical idealism. The Presentation, measuring 57 5/8 x 38 in., depicts the apocryphal story of the Virgin Mary’s Presentation in the Temple of Jerusalem by her parents at the age of three. Executed in oil and tempera on panel, the work frames a young Virgin in purple by the grand, classical architecture of the Temple. The entire work confers an atmosphere of contrast: the softness of Mary’s companions with the sharply defined, half-nude beggars, the religious with the classical reliefs, the tiny Virgin with the enormous architecture, and the brightly lit interior with the cloudy sky. Fra Carnevale creates a mysterious, yet orderly, scene of subtle emotion and veiled heterogeneity.…
Guercino utilizes elements similar to the characteristics of the Italian Renaissance and Baroque era in his painting titled, Mary Magdalena, to portray an idealized image of a woman. Immediately, the audience is drawn to the dramatic gaze of her face as she looks off frame to the upper right corner. This intensity is highlighted through tenebrism, as an ominous shadow is diagonally placed across the painting to bring even more attention to the illuminated figure. Drama is further illustrated as she reveals a human skull under the cloth that she tightly clenches. The representation of a skull alludes to the theme of death…
Buigiardini’s Madonna and the Child with St. John the Baptist depicts Mary with Christ and St. John. The three figures are arranged in a triangle formation, with Mary at the apex. This positioning was often used by artists such a Leonardo da Vinci and can be seen in his work The Virgin of the Rocks. This painting also displays chiaroscuro, as the ground is composed of dark colors; browns, blues and reds, but the figures and the sky are much lighter. The figures are shown with very pale skin, which makes them stand out from the darker ground and the sky is an extremely light blue color. This technique helps the artists convey spatial depth. The baby Jesus is shown wearing a delicate golden halo, and is simultaneously grabbing the book that Mary is reading and pointing at the young John the Baptist. I thought that this might be a symbol of the importance of John the Baptist’s work in the Bible.…
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…
Greater loss of carbon dioxide from test tubes closer to the light and containing sprigs supports the…
The poem “Father and Child” by Gwen Harwood shows Harwood’s father teaching her the concepts of life and death, from when she is a young child in “Barn Owl” up to when she is around forty at the time of his death in “Nightfall”, coming to accept the idea that life is not never-ending. In part one called “Barn Owl”; she has learnt to accept death as a component of life. The persona of the poem experiences a loss of innocence with the discovery of the tragedy of death. Before shooting the owl, the child believes they are the “master of life and death,” with the noun, “master,” reflecting the power that the child feels and the ignorance that the child has about the nature of death. This description of the child is later contrasted in the fourth stanza, “I watched, afraid by the fallen gun, a lonely child who believed death clean and final, not this obscene bundle of stuff.” The emotive term, “afraid,” represents the change in the persona’s attitude after being exposed to the harsh reality that is mortality. However, the rhyme and last line “what sorrows in the end, no words, no tears can mend” releases an element of inexpressible sadness that she has towards the death of her father showing that although she accepts death, it still upsets her as it did in “Barn Owl”. Father and Child” Nightfall” is more metaphorical and symbolic suggesting a more mature persona like an adult. The poem represents a human’s journey over time of learning to mature and accept death.…
1. formal and iconographic characteristics are seen in high renaissanace, venetian and mannerist paintings. to begin with, in high renaissance michaelangelos Moses is shown holding the 10 commandments. You can clearly see the anger that is dipicted through the facial expression on moses. Michaelangelo wonderfully portrays the psychological states in moses, through the iconographic characteristics of his puffed lower lip, arched toes and the bulging of his veins. the formal characteristics are seen through michealangeols mastery of lines, which help create the anger that is being felt by moses. The formal characteristic of the lining of his beard and clothing show his inner turmoil. In the venetian painting of the virgin of the rocks by Leonardo Da Vinci, the artist magnificantly uses the chiaroscuro method of light and dark to model the expression and emotional states of the figures being portrayed. The lines, soft and subtle give the painting a more intimate feeling. The figures are all shown interacting with one another, praying, pointing, and blessing. He also presents the figures in a pyramidal group and sharing the same environment. The figures emerge through the use of light and shading from the half-light of the cavernous visionary landscape. For mannerism, formal characteristics are clearly seen in Parmigianino's Madonna with the long neck. Although nothing is shown in proportion the painting still apears soft and smooth, through the lines and colors used. The madonnas long neck, the delicacy of her hands and swaying elongation of her frames are all signs of mannerism. On the left stands the angelic creatures melting with emotions as soft and smooth as their limbs. on the right the artist includes a line of columns without capitals and an enigmatic figure with a scroll whose distance from the foreground is immeasureable and imbiguous.…
During our tour at the Legion of Honor, we observed art starting from the early and High Renaissance. Next, we went to the Dutch Baroque period, British art, and ended at the impressionists. A most notable work of art from the tour was “The Annunciation” by Master of the Retable of the Reyes Católicos. This oil on wood panel painting was created in the late 1500s, during the High Renaissance period of the art historical cannon. It portrays the biblical event found in the Gospel of Luke in which the archangel Gabriel announces to Mary that she is pregnant with Jesus, the son of God. “The Annunciation” is a religious painting and is an example of the many great works of art from the High Renaissance.…
Often, the paintings of Mary and Jesus used mainly red and blue and are used interchangeably with one another. Red symbolized the blood and the martyred heroes, whereas the blue stood for heaven, serenity and calmness. Mary was crowned as the queen of heaven when she died and Jesus brought her up to heaven to stand with him in the kingdom of God. Likewise, Romulus and Remus would’ve done the same and bring their mother to live with them in their kingdom/city. In person, it is more stunning to witness not only due to the size, but also because of the vividness the painting still holds after all these years. It seemed as though it was done almost yesterday due to the freshness the content displayed and in comparison to all the other artworks in the area, this stood out to me due to the colors itself. Mignard’s choice to bring attention to the individuals’ clothing by surrounding it with darker colors in the background created a contrast that was not too harsh to view and the bright colors lures one’s eyes into it. Also, his choice of the lighting created a focus that draws the viewer in so they would not have to look elsewhere to determine what the “thesis” of the artwork is. Lastly, the details of the painting are astonishing to see up close. The brushstrokes of the dog’s hair looked as if you could touch it, the muscles in the shepherd’s legs and arms…
Maman is a monumental steel spider, so large that it can only be installed out of doors. Supported on eight slender, knobby legs, its body is suspended high above the ground, allowing the viewer to walk around and underneath it. Each ribbed leg ending in a sharp-tipped point, and attached to a collar above which an irregularly ribbed spiraling body rises, balanced by a similar sized egg sac below. The meshed sac contains several white and grey marble eggs that hang above the viewer’s head. Generally speaking spiders are strongly alarming with their effect on people. They can awken differing emotions, from past curiosity and playfulness, to terror and fear.By looking at the image of the sculpture, at first I had a feeling of slight anxiety, as a child would, if they could not see their mother. Then when I saw her eggs I felt a strong, safe, maternal presence, a positive energy directed on me. Also when i look at the sulpture many questions come to mind fro instance did she first sketch it and if so where did she sketch it , did she personaly build it etc...…
Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s “Virgin and Child”(c. 1380). Both paintings focus on the human form and exhibit many variations of styles from lines, shading, color and possible meanings behind the work.…
This paper will be about the visual description about “The Holy Virgin Mary” (1996) by Chris Ofili is a narrative painting. Chris Ofili works with embodied spirituality and also a serious artist but he's also playful and ironic. His paintings discharge a psychic energy. The Holy Virgin Mary is a colorful canvas incorporating paper collage, colored pushpins, foil, paint, glitter and elephant manure. (Daily Telegraph) Ofili paints in a semiabstract style and his style were always cartoonish and even a little loopy. Ofilli also has an imagination like he is derived from comic books, hallucinations, and also Aboriginal Art is part of the world’s oldest cultural traditions, and also one of the most brilliant and exciting areas of modern art today. (Australian Aboriginal Art)…