Fra Carnevale: Presentation Of The Virgin In The Temple

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Recommended: Art expression in the renaissance period

Art History Make-Up
Miquela Caswell
Professor Keotch
Art History

1. Fra Carnevale, Presentation of the Virgin in the Temple The painting is an epic to the daily life of a church at the start of the Renaissance. The painting is done for a little girl who is in the foreground. The sole purpose of the painting is the eagerness and excitement of the future. The people are active in bright clothes. The colors used are bright showing hope for the future. The people in the painting add to the delightful optimism. The forms are delineated like the columns. Apparent details above the columns, retreating into the background. The masses have space and mass. Every stone is perfectly in place. There is a peculiar darkness across the painting that …show more content…

This is a place of worship that is so ornate, precise and exactly in angle that it could only be the vision of a Renaissance monk. The forms in the painting are obvious that one does not become aware at first of the fact that the building does not make a lot of sense. Arches and columns stagger all over, dividing space. The windows do not align, none of the pillars stand at same height.
There is deep space on a flat surface. The museum wall caption mentions “Roman art Inspiration”, and this is evident in the Fra Carnevale, as the painting captures the church in the early days with the people dressed in long, colorful robes flowing to the floor. The church in this context the roman church is a place of culture where people are free to express themselves and their different ideologies. The church belongs to everyone and everyone is welcome. Lastly, there are striking examples of architectural fantasy and expertly calculated mathematical perspective (Metropolitan Museum of Art, 1951). 2. Northern Painting Saint Luke drawing the virgin is a very important European …show more content…

The painting illustrates the martyrdom of St Mathew the evangelist. According to belief, the saint was murdered on the commands of King of Ethiopia while celebrating mass at the altar. X-rays disclose two attempts at the masterpiece before the one we see today, with a progress towards simplification by decrease in figures, and decrease of the architectural aspect. The first translation exposed is in the mannerist approach of an admired artist in Rome. At this point Caravaggio focused more on the calling, a companion piece. This painting signifies the time when mannerism paves way to the baroque. The younger artists were loved the work, and Caravaggio became very famous in Rome. The Taking of Christ is the work of Michalengelo Merisi Da

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