Duccio di Buoninsegna and his workshop differ from Joos van Cleve in numerous ways. Both artists were influenced by the different works of their time. For instance Duccio lived and worked during the time between Late Medieval art and Pre-Renaissance, which emphasized a change from merely concealing the figures to making them more realistic than previous works of art. Joos van Cleve resided in the Renaissance period, which was later than Duccio by over two hundred years, where the act of making figures more lifelike with an increased amount of depth had been perfected. These differences and similarities can be most clearly seen with Duccio's Triptych: the Crucifixion; the Redeemer with Angels; Saint Nicholas; Saint Gregory and Joos' The Crucifixion.
Duccio di Buoninsegna and his workshop produced this piece in the time period of Late Medieval and Pre-Renaissance, which provided the piece with a mixture of different styles. The main subject of this piece revolves around the storyline of Christ's death and resurrection. Angels surround Christ in a circular formation when he lies on the cross, and when he has risen two angels flank him in the pinnacle. Meanwhile, two larger groups of mourners are firmly connected to the slight hill that holds the cross. At the base of the cross, a dead body appears to rise from the death as well, seemly from the blood of Christ as he is attached to the cross (Figure 1). This could represent how all souls will rise, because Christ gave his body and blood for all people. On the two doors of the triptych, Saint Nicholas and Gregory follow the pattern of being symmetrically placed along with the rest of this triptych. While each saint differs in color, they both hold up their right hand...
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...ifelike and realistic. This can be seen with Joos' painting in the way the figures have shadows and are arranged with perspective, compared to Duccio's where there is only a foreground, and the figures are rigidly attached to the ground. However, both works of art are similar in subject matter, and a viewer can clearly see how Duccio influenced Joos with the continuation of painting the bones at the foot of the cross. Both paintings came from different eras, but they each have similarities and differences.
Works Cited
Boston Museum of Fine Arts. Museum label for Joos van Cleve, The Crucifixion. Boston, 1 February 2014.
"Figure 1-5." Triptych: the Crucifixion; the Redeemer with Angels; Saint Nicholas; Saint Gregory. (1311-1318 CE.). Boston Museum of Fine Arts, Boston, MA.
"Figure 6-8." The Crucifixion. (1525 CE.). Boston Museum of Fine Arts, Boston, MA.
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
Jesus’s body is centered in the middle of the altarpiece, positioned in an elegant curve as his lifeless form is removed from the cross. His body is sickly thin, ribs easily visible
The Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any...
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
The main theme can simply be seen easily is religion. At first glance you can see why the title is so fitting. The Angel is seen pointing up while hold a tombstone, as if leading Jesus up. Jesus is shown above him pointing in the same direction almost as if talking about heaven. You can tell who Jesus is not only by his placement but by the cloth, light halo, and possible makes on his head from the thorn crown. The dramatic size as well gives it a religious feel. Cecco again shows he uncanny ability to resemble Caravaggio to build connection. Caravaggio’s work surround religion had the ability to provide “ direct communication..[and] establish” a bond “between the spectator and the sacred scene[s]” (Chorpenning 145).“When standing up close I felt that looking up I was another person there looking to where he is pointing. The dramatic scene is something to behold in person that is so interesting. The contrast of the angel and Jesus who are lighter than anyone else from the dark background make them stand out. The light sources that help bring in contrast is like a ray of light or even a spotlight light. The way the light falls helps reinforce the importance of Jesus and
This sculpture is quite spectacular. According to the display plaque, the sculpture shows four events happening all at once. On the far left is St. Peter who has just cut off the ear of Malchus (the servant of the high priest and seated in front of St. Peter) is "sheathing" his sword. He seems to be very content with what he has just done, but then if you look closely at the right side of Malchus' head, you can see a hand holding his ear. That seems to be Ch...
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
“Diptych of Maarten can Nieuwenhove” was designed and developed in 1487 by Hans Memling. This portrait is one of the very best intact diptychs witnessed in Northern Europe during 15th century. Han’s work brought a new concept in the devotional diptych. Unlike the portraits that existed before 15th century, the Han’s shows the figures in a spatially coherent space. The figures can therefore be seen clearly (Pearson, 2005).
The crucifixion periscope is one of the most read and studied stories of the gospels, second only to the story of the resurrection. Luke’s presentation of the darkest day in Christianity is appropriately not as poetic and literary elegant as some of his other writings, yet dramatic. He stresses some common Lukan themes of forgiveness, prayer and universalism.
Hall, Gerald. "Jesus' Crucifixon and Death." Academics' Web Pages. School of Theology at McAuley Campus. Web. 26 Feb. 2012.
Martin Schongauer. The Temptation of St. Anthony. c. 1480-90. Engraving. The Metropolitan Museum of Art, New York, USA.
The Middle Ages and the Renaissance were different in their own unique ways. The Middle Ages, time was simpler. They relied more on the churches and their religious means. The Renaissance was during the year 1350 and didn’t last until 1700. The Renaissance means “rebirth” or “revival” (Background Essay). This was a time when art and science were popular and important. The purpose of this paper is to discuss the change of man’s point of view from the Middle Ages due to the Renaissance.
While the Flemish were proficient in oil painting, Italian Renaissance artists continued their predecessor’s use of tempera. Furthermore, the paintings were ultimately created for different purposes and separate viewers. Although both works are centered on the defining moment of the annunciation, The Merode Altarpiece incorporates this scene into a secular setting, therefore differing from Fra Angelico’s The Annunciation which was painted for a monastery. Finally, Flemish and Italian Renaissance paintings differ in levels of realism. Although the Flemish painters were skilled in portraying realism of physical forms, they lacked a full understanding of linear perspective. In contrast, the Italian Renaissance artists were well versed in linear perspective but lacked a complete grasp of the natural
Considering its age of over eight hundred years old, the Christ in Majesty with Symbols of the Four Evangelists remained in remarkable condition. However, pieces of the original apse, which originated in the Catalan chapel in Spain, have faded. Portions, especially along the bottom, have disappeared over time. Even though it was moved to the Boston Museum of Fine Arts, it has not been fully restored. The artist identified each of the apostles in the Christ in Majesty with Symbols of the Four Evangelists, but the writing has grown fainter and this creates difficulty for art historians. Another key factor in the overall story represented has faded, which is one of the lamps or incense holders beneath Christ.