Preview

Raphael's Portrait Leo X with Cardinals Guilio de' Medici

Better Essays
Open Document
Open Document
923 Words
Grammar
Grammar
Plagiarism
Plagiarism
Writing
Writing
Score
Score
Raphael's Portrait Leo X with Cardinals Guilio de' Medici
In Nelson Minnich's religious interpretation of Raphael's famous portrait of Pope Leo X, Minnich first begins with the very basics of the portrait; what is contained within its canvas and why it is there. From small clues such as these, he is able to lay the foundation for which theories and conclusions can be based. He first points out the location of the figures in the painting. Minnich believes that they are in a large room, seated before a green cloth on the wall, or cloth of honor. There is some speculation, however, as to exactly where this room is located. Several theorists, as well as he, believe that the location is a room in the Vatican, perhaps the library. He points out that there is reflection of a window in several objects in the portrait, allowing more narrowing down the location even further and debunking the library idea. With the location not quite known, Minnich moves on to the color scheme. He points out that the painting is known for its use of red on the robes of the pope and cardinals, the furniture, and the table coverings. Red was considered a papal color, so this is not unusual in a papal portrait. What is unusual however, is the other two men accompanying the pope in the portrait who were painted in later. Minnich identifies these cardinals as Luigi de'Rossi, Leo's first cousin, and Guilio de'Medici, another of Leo's cousins. Leo was extremely close with Luigi and this is shown by Luigi's hands on Leo's chair. Guilio was considered Leo's right hand man, and is depicted as so in the portrait by being almost a part of Leo's right arm. Minnich also points out that it is ironic that Guilio is depicted as a cardinal because his clerical status wasn't determined at the time. From here we move on to another important item in the portrait, the bell. This specific bell was made for Leo after his election and is a hand bell used for praying. Minnich explains that its presence is most likely to represent Christ in the portrait. Next to the


Bibliography: Minnich, Nelson H. "Raphael 's Portrait Leo X with Cardinals Guilio de ' Medici and Luigi de ' Rossi: A religious interpretation." Renaissaince Quarterly, vol. 56 no. 4 (Winter 2003), 1005-1052.

You May Also Find These Documents Helpful

  • Satisfactory Essays

    The two images I chose for the analysis paper are Martini, Simone and Lippo Memmi, Annunciation with Saints Ansanus and Margherita (1333) and Brunelleschi, Filippo, Dome of Florence Cathedral (1420-36). The reason I chose these are because they relate to the Catholic religion in different ways. The Annunciation with Saints Ansanus and Margherita was the beginning of the Catholic art during the Gothic time period while the Dome of Florence Cathedral was not only a masterpiece of artwork it was also a breakthrough for the construction during that time and for the rest of history.…

    • 794 Words
    • 4 Pages
    Satisfactory Essays
  • Good Essays

    Even though the pope is sitting on a what viewers usually think is a sedia gestatoria, it does not appear that way. Bacon painted the sedia gestatoria slightly overlapping the pope which made the pope appear kind of hemmed in. The effect is greatly enhanced because it is thick lines of yellow. We associate yellow as light, which lead viewers to believe he is in an electric chair. And then on top of all that you've got these vertical stripes, almost very thinly painted, which seem to hold captive of the pope, similar to a prison. These parallel light and dark striation has feature in Bacon’s paintings many times. Propaganda imagery of the Nazi ‘cathedral of light’ is possible model Bacon has used as a reference for those vertical stripes.…

    • 270 Words
    • 2 Pages
    Good Essays
  • Good Essays

    The placement of figure near the west door of the Palazzo della Signoria It portrays informal intimacy. With stern watchfulness before the battle By the placement of Judas on the same side as Christ and the other Disciples the Parthenon He grouped the figures in threes and they all expressed the same emotion.…

    • 1001 Words
    • 5 Pages
    Good Essays
  • Good Essays

    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.…

    • 843 Words
    • 4 Pages
    Good Essays
  • Good Essays

    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…

    • 804 Words
    • 4 Pages
    Good Essays
  • Powerful Essays

    Picture from: Lorenzo de’ Medici. Encyclopedia Britannica. 2008. Encyclopedia Britannica Online. 09 Dec. 2008: http://www.britannica.com/EBchecked/topic/372332/Lorenzo-de-Medici…

    • 3055 Words
    • 13 Pages
    Powerful Essays
  • Good Essays

    Around the bottom portion of the breastplate are two babies and a cornucopia between Caelus and Tellus(or Terra Mater). It can be assumed Tellus because it is common for Caelus and Tellus to be paired together. All of these images and the breastplate as a whole are to convey a message of fertility, peace, and general prosperity of Augustus’ reign. On the back portion of this breastplate a trophy and wings are depicted there. This back portion is roughly done,…

    • 862 Words
    • 4 Pages
    Good Essays
  • Good Essays

    This edition of the German master Albrecht Dürer’s 1521 engraving is a fine example of the artist’s revolutionary style of printmaking. His combination of traditional religious subjects with a scientific understanding of anatomical modeling and perspective make the piece dynamic and contribute to the overall drama of the narrative. A halo of light draws the eye to the central figure of the Christ child, who gazes serenely upon his bearer and makes a sign of benediction. The visage of the saint, rendered in high contrast with aging and exaggerated features, is stoic. The faces and overall forms of the central figures display the artist’s interest in light and shading, both as artistic and metaphorical endeavors. The stacking of the figures and…

    • 466 Words
    • 2 Pages
    Good Essays
  • Good Essays

    Bronzino is best known for his series work of the duke and duchess as well as their court. The works have a great attention to detail. In his Portrait of Cosimo I de’ Medici, Cosimo is shown in his younger years and depicts his dominance. This portrait fits into the manneristic period because its attention…

    • 221 Words
    • 1 Page
    Good Essays
  • Good Essays

    The Annunciation Analysis

    • 969 Words
    • 4 Pages

    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…

    • 969 Words
    • 4 Pages
    Good Essays
  • Good Essays

    The two children draped with bright blue garb in his hands are depicted as plump and realistically proportionate babies, unlike the past art pieces where the head was adult-sized with a mature face and small bodies. The main focus of the piece displays two bright, dominant clothing belonging to the outstretched woman and the man bearing the two children with it. At the current time, this idea would be considered to be barbaric for peasants to even consider wearing colors that were reserved for the wealthy and the noble class. However, it is possible that Mignard’s intentionally did this due to the history behind the two small individuals in the bright blue cloth, Romulus and Remus. The textual depiction of the painting states that “the subject was derived from the mythological fable of the two who were suckled by a she-wolf, saved by a Shepherd to found the city of Rome” (Dallas Museum of Art wall text). Mignard went on to depict and dressed them in bright royal colors to symbolize their greatness as the “Kings” who founded the great city of Rome. And…

    • 828 Words
    • 4 Pages
    Good Essays
  • Good Essays

    The Sistine Chapel

    • 561 Words
    • 3 Pages

    Cited: de Strobel , Anna Maria, Ester Console, Maurizio Sannibale, and Lorenzo Nigro. "The Sistine Chapel." Vatican Museums. The Vatican Museums. Web. 7 Dec 2012. <http://mv.vatican.va/3_EN/pages/CSN/CSN_Storia.html>.…

    • 561 Words
    • 3 Pages
    Good Essays
  • Powerful Essays

    Renaissance Portraits

    • 15832 Words
    • 64 Pages

    Five Early Renaissance Portraits Author(s): Rab Hatfield Source: The Art Bulletin, Vol. 47, No. 3 (Sep., 1965), pp. 315-334 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3048279 . Accessed: 19/05/2013 05:42…

    • 15832 Words
    • 64 Pages
    Powerful Essays
  • Good Essays

    Paper 1

    • 752 Words
    • 4 Pages

    Cited: Cole, Bruce. The Renaissance Portrait. Renaissance Images and Ideals. Boulder, Colorado: Icon Editions/Westview Press, 1987.…

    • 752 Words
    • 4 Pages
    Good Essays
  • Better Essays

    Meiss, Millard. Paintings in Florence and Siena after the Black Death: The Arts, Religion, and Society in the Mid-Fourteenth Century. Princeton, New Jersey: Princeton University Press, 1951. 74-93. Print.…

    • 2862 Words
    • 12 Pages
    Better Essays