Fredrick R. Bernard once said “A picture is worth a thousand words”, which makes art a universal language that connects ideologies’ to an image, a sculpture, and architectural structures. This is one reason many churches, cathedrals, and other places of worship are adorned with many works of art that display discreet messages. The work of art being analyzed in this paper is one example of religious artwork. The Transfiguration (c.550-565), located in a monastery in Egypt uses design principles and elements to incorporate their ideologies’ well. Line, color, harmony, and unity are four features that will aid in analyzing the Transfiguration. We will begin by describing the four features (line, color, harmony, and unity) in the mosaic the Transfiguration. …show more content…
The expressive lines outlining the outermost ring make the composition easy to connect. Expressive lines that are used to create the simple organic shapes are easy to remember. Therefore, it is more likely for the viewer to remember the image. The lower portion of the inner ring (below the five middle beings) puts emphasis to that portion of the work. This would make sense because the beings above the lines are larger and have more detail. Eyeliner is used extensively; all the beings eyes in the outermost ring are directing their attention to the inner ring. From there the eyes examine this inner ring and see that again all the eyes again lead to the center of the mosaic (to the religious being). In the inner ring the five beings arms are followed by the eyes to the religious figure. Even the religious figures hand is used as a gesture to lead you to the face of the religious figure. Position wise, the religious figure is placed at the center of the work, which makes it more likely to be the focal point/center focus. The warmer color in the background of the inner ring makes it pop out. While the cool colors in the outermost and innermost (aura around religious figure) give the viewer refuge as well as complementing the warmer colored background. Color is also used to help the religious figure stand out because the clothing of the other beings wore cooler colors. In contrast the religious figure who is adorned with white and gold. The design principle harmony is being used to pull the different rings of the mosaic together. It helps the viewer know that although the rings are being separated that they are still all similar and creates a connection. Harmony is also used to create attention to disparities. Finally, design principle unity is used by the artist to organize all the parts of the composition and make it easier to comprehend the meaning/message that is being conveyed. Using our analysis we can now
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
... light that seems to be coming from the opposite direction. On the right, Adam holds onto a branch from a tree trunk that is adorned with a serpent and a grapevine, symbolizing the temptation of sin. The serpent is tightly wrapped around the trunk and his heading towards the top. The serpent is barely noticeable, but balances out the tree trunk with the sculpture in order to create a more organized structure.
The theme can be generally recognized in this piece through color, space, and especially through use of light. The colors used in this piece are mostly calm toned, whereas the robes and shawls worn are pale blues, corals, and beiges. There are however, some harsh colored objects such as Mary’s navy blue shaul and deep coral gown, as well as Christ’s coral necklace that stand out from the rest of the colors. Mary’s veil and the angel on the lefts’ hair are translucent in certain streams of light coming from the windows throughout the room. The artists suggests that the light is dedicated not to represent the divine but to rather represent a more natural juxtaposition on the piece. The space that the characters stand in is fully used by the subjects but also has a very interesting doorway with heightened perspecti...
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
The representation of divinity was clearly defined in Christ in Majesty with Symbols of the Four Evangelists through its subject matter, technique, and style. Christ acts as the focal point, but the artist also used different subjects from the Old and New Testament to decorate the apse. Unlike the mosaics in the apse of Byzantine churches, the artist employed the technique of classical fresco painting. The artist also applied decoration to the figures with the hierarchy of scale, and through the geometric style in the drapery instead of maintaining a sense of realism.
The painting achieves unity by use of proximity, creating a relationship between the elements by placing figures engaged in various activities closely
All in all, the artworks of Mesopotamia, Ancient Egypt, Aegean cultures, and Ancient Greece have similarities that not only reflect objects and images, but also the media, style and representation, these cultures are vastly exclusive works ranging from triangular depictions of form, to breezy depictions of nature, to sturdy architectural innovations for their citadels. Because of the existence of these major cultures of art in our world, it has made what art is today. These four unbelievable time periods have learned from each other and improved the way they accomplish their art techniques. These amazing cultures set a foundation that we were able to build on for thousands of years now with much more to come.
The main difference can be seen in the rigid composition that was often used to portray the Three Graces, as the two outer Graces in the ancient version face forwards, and the middle – the oldest and wisest – faces backwards. The women look outwards and lean away from each other. Although the composition is balanced and symmetrical, a key characteristic of Antiquity, it does not effectively show the unity and harmony between the Graces. Many other artists who depicted the Three Graces, for example Raphael’s, show the Graces reaching out holding apples and looking down. On the contrary, Canova shows the three women linked together, in a uniting embrace that represents the alliance of the Graces.
The Annunciation uses elements of design to create a visually pleasing picture. The visual elements consist of light, color, texture, shape, and line. The use of light is one of the most evident elements in this painting. The source of light is not directly visible in the painting, but appears as a radiant angelic host floating above the two main figures. Light emphasizes the fair skin of the Angel and Mary as they both look down towards a shadowy floor. Light also reflects the open Bible on the table suggesting emphasis on the holiness of Mary. The rest of the room remains eerily dark and dull.
Light and shade, rendered through oil paint, make possible the tactility of the material world which then results in the viewer to have “the impulse to read the images realistically [and thus arise their] desire to read them as moralizing texts warning [them] against lust, greed, and various other canonical sins”. In many biblical paintings, the amount of light exposure may be symbolic of the presence of a holy being in the room. In comparison to the Woman Holding a Balance, there is direct sunlight hitting the woman’s frontal portion of her body, almost reminiscent of an Annunciation scene. The light from the window line up at the same axis facing towards her, directing the viewer’s attention directly at the woman. Similar to Woman holding
Byzantine mosaics developed depicted subjects with shimmering skin and shinning halos which brought up an effect of an accomplished gold leaf and smalti. The Roman mosaics featured domestic scenes, animal sacrifices and geometric patterns which led to the creation or display of Christian imagery in terms of depicting Christ.
To begin, the concept of unity follows the Aristotelian proposition that nothing can be added to or taken away from a perfect work of art. Next, proportion, or the harmony of the parts to the whole and to each other is, based the mathematical and geometric relationships discovered by the Ancient Greeks. Finally, clarity refers to the logical quality of design, as well as the luminosity of coloration. Therefore, St. Thomas explains that beauty is intimately tied to knowledge, and that we form our judgments according to what pleases us.
...ything fits together and disunity is the opposite, it’s a feeling of disorder. In art, unity is often achieved by the repetition of a shape, colour or another visual element. Simplicity is another method and it’s the use of one major colour, kind of shape or element to unify a work. Another technique is harmony where related colours, textures, and materials might be combined. Theme and variation is another method that allows artists to organize a work around one major element like a circle, and variations of circles. Works are sometimes unified by proximity or continuity. Proximity means that parts are grouped together, enclosed or clustered into sets. Continuity means that edges of forms are lined up so your eye moves from one part to another in a definite order. Variety is like a spice in art and it is the use of contrasting elements to make something interesting.
When the religious art leaks out of the religious community and into the broader world of culture, it is one of the ways the meaning of the art can evolve. This is also an opportunity for the art to draw the world to religion. Moreover, artistic reinterpretation of sacred imagery can help keep religion honest. The church has always been enriched by the tension that comes with diversity in art. Art is communication and effective art communicates effectively to any group at any level.
The face is a central organ to personal identity. With it we can communicate human expression, feelings and characters with as little as the blink of an eye. On a deeper level, the face can be an art form that speaks to a universal understanding of the mind. Olivier De Sagazan uses the face to challenge conventions. He exposes human rawness and looks at cultural taboos. Sagazan’s artwork cannot be pinned down by language but by raw emotion. His unsettling performances represent visions of primitivism, agony, occult and other ancient cultural art forms that cover or deform the face in ways that can be both beautiful and confronting. Leading us to question, “What are we? Humans? Or animals? Or savages?