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Judith and her Handmaid
This paper will be on the painting Judith and her Handmaid with the Head of
Holofernes (Detroit Institute of Art). Painted by Artemisia Gentileschi in 1625, the painting depicts the story of Judith, who beheads Holofernes while he is passed out because he is about to destroy her home. Gentileschi paints Judith and her handmaiden in the moment after the beheading, stashing Holoferne’s head in a sack. I selected this work because of Gentileschi being a popular female artist, and being a female myself, there is importance in having female representation in a profession that has historically been predominantly male. Not only is Gentileschi a notable female artist, she is known for depicting female figures, especially ones in biblical stories as heroic, strong and realistic figures. This is visible from the softness of skin, to the clear knowledge of female anatomy depicted in detail, to the emphasis of strength and suffering or former suffering. This would interest someone who wants to know more about seventeenth century culture because of the notion of Pictorial Reform, when the Catholic Church wanted religious art to be simple, and to have a clear story or meaning. We can draw conclusions that Gentileschi uses a combination of the elements of light and dark, lines and shape to put a clear and easy to follow focus on the biblical story, strength and heroism of Judith.
Description and Formal Analysis.
Judith and her Maidservant with the Head of Holofernes is large oil on canvas by Italian artist, Artemisia Gentileschi. Although the work’s dimensions aren’t listed on the card, this work is of life size with an estimated measurement of 6 by 4.5 feet. The painting surrounded by a gold frame that ha...
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...d in both Reni and Gentileschi is idealization of the figures and how they are depicted as young and beautiful. There is a lack of accuracy in the storyline of Reni’s work, while in Gentileschi, the alertness of Judith seen by her hand gesture and her head turned away. The storyline in Gentileschi’s piece is also easy to follow because of the focus on the gestures of Judith and the Handmaid through the presence of light and dark shading. While in Reni’s the composition as a whole lacks a clear focus in the story line because of the monkeys, the cupids, and the extra figures added to the painting that possibly couldn’t have been present in the story. While, Gentileschi uses the combination of light and dark and shapes and lines in the composition of her painting to focus us in on the story, and the main character and how she is depicted in the story, as a heroine.
Arnolfini Double Portrait was painted in 1434, by Jan van Eyck; who hard already gained attention and admiration through earlier works, such as the Ghent Altarpiece. The subject of Arnolfini Double Portrait, also known as The Arnolfini Portrait, is the italian merchant Giovanni Di Nicolao Arnolfini and his first wife inside of a room filled with objects teeming with symbolism. The depth is divided into a familiar three layers, a foreground, which is composed of a dog and a pair of sandals; a middle ground which features the two main subjects of the painting; and background, which contains the rest of the objects in the painting. The painting is symmetrical and the vanishing point is not far from the center of the painting along the horizontal. The paining is filled with symbolism and items meant to portray the subjects' distinguished lifestyle. Although, what some of the objects actually symbolize can be interpreted in slightly varying ways. To begin, many of the ob...
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
It is understandable that Vout took on a discursive tone when attempting to explain her point of view regarding the depictions of the youths in the Hellenistic age. The subject’s content is far too broad to be encompassed within a small range of thinking. This observation is evident in Vout’s temporary straying from the main points to wider subjects; however, she always brings her tangents back to the principal objectives. The primary ideas that she focuses on concern the rendering of children in art forms during Hellenistic times. This idea is then divided into differen...
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
Bartolomeo also establishes the foreground with a vertical tapestry and shows the Virgin adoring her child in contemplation; however, the tapestry lacks the pomegranate and ornate decoration of the original work and the admired child has been removed from his mother’s lap and placed on a stone ledge. And although the Virgin Mary remains the pyramidal anchor of the work, Bartolomeo only paints the upper half of the body and diminishes the structural effect. These differences both highlight the relationship between the Virgin and her child Bartolomeo portrays and the unique characteristics of The Virgin and Child Enthroned by the Master of the Embroidered Foliage. For by expanding the context in which the Virgin represents the structural pyramid of a work, the Master’s emphasis on structural foundation and connection between earth and heaven becomes increasingly clear. In other words, only by examining an outside work does the Virgin’s naturalistic cloak connecting the fertile garden with the heavenly tapestry dominate the viewing experience. In addition, the lack of urbanization in the background of The Virgin Adoring the Child emphasizes the timelessness of the original work. For with the exception of an abandoned
Simmons, Patricia. "Women in Frames: The Gaze, the Eye, the Profile in Renaissance Portraiture." The Expanding Discourse. Ed. Norma Broude and Mary Garrard. New York: Harper Collins. 39-57.
“The Grafin von Scholfeld with her Daughter” is oil on canvas art piece painted in 1793. It is a painting of a woman holding her daughter on her lap, the woman being “The Grafin von Schonfeld.” The woman is dressed in clothing that is from the upper class or a royalty stature in the late 1700’s. The clothing looks rich in material and sleek like silk in the colors of wine and a rich green. She has a covering on her head that looks like an extravagant scarf that drapes over her shoulder on one side, also made of the same silky material used for her dress. The woman has pale skin, reddish brown hair, bluish eyes, and rosy cheeks. Her eyes look very real and penetrating when you examine the painting. The daughter is about the age of 5 or 6 years old. Her arms are around her mother’s neck and legs draped across her mother’s lap. The daughter is wearing a white fluid dress that looks thin in material with a red sash around her midsection. The daughter has the same reddish brown hair and rosy cheeks. The mothers and daughters eyes are equally as big in size, while the child’s eyes seem also very real and youthful.
...olour scheme used showed how much value was engaged in the style and material that were presented in the painting. In evaluating the chapter comparing to the painting the author felt that the beginning of the era the skill level was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, the significance of the applicability of the chapter to the fresco painting changed as a deposit of relations of the artist and art they created with there talent, style, and skills.
The human figures appear in the flesh color of the original clay, with the details and background painted using black slips. The contrasting sides not only have different stories, but have inconsistent artistic and craftsmanship ability, skill, and style. Because, recreation was so crucial to Greece, the story of Theseus and Helen appeared in many other forms. Although in the other vases I examined the characters were not deliberately labeled, the themes and styles remained constant and hinted at the same myth. Our narrator is consistent with the style of other vases using the red-figure technique, but different in imagery.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
He mostly painted ordinary people and sometimes even included religious figures as those ordinary people, which had never been seen before. He is also known for using tenebrism, which is a style that uses strong contrasts of light and dark. In his piece, “The Calling of St. Matthew” uses a beam of light coming through a window right above Jesus’ head to illuminate the other men sitting at a table. “Christ’s face and hand in the gloomy interior so that we see the precise moment of his calling to Matthew and witness a critical piece of religious history and personal conversion” (665). This aspect of his artwork impacted Artemisia Gentileschi the most. Gentileschi, one of the first woman artists to become well known, was known for painting biblical heroines, women, or her in a lead role. Her piece, “Judith and Her Maidservant with the Head of Holofernes” she uses tenebrism in a dramatic way. “The hushed, candlelit atmosphere-tenebrism made intimate-creates a mood of mystery that conveys Judith’s complex emotions with unsurpassed understanding”(669). The candlelight is used to highlight the facial expressions of the two women. The candlelight doesn’t show what is keeping the attention of the women, which adds to the drama created by the light because the viewer doesn’t know what is in the
In Giorgione’s Judith, many classical elements are predominantly put on display. Giorgione shows the heroic, almost contrapposto stance of Judith stepping on Holofernes severed head. This posture alludes to the iconography of David’s defeat of Goliath. This oil painting created in 1504 captures the courageous woman in a moment of triumph. In this depiction, Judith is an enchanting, beautiful young girl, who although holds a sword, uses her beauty as the true weapon (Fomicieva, 417).
Perspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the