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Renaissance art vs medieval art
Renaissance art vs medieval art
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In his Crucifixion, with the Virgin and Saint John the Evangelist Mourning (c.1460), a piece within the Northern Renaissance collection of the Philadelphia Museum of Art, Rogier van der Weyden portrays a stark image of the crucifixion of Jesus Christ. The right panel of the diptych depicts the gruesome image of a crucified Christ. Weight pulls the emaciated body down into a Y-shape, contrasting the T-shape of the cross it is mounted on. The only movement comes from the loincloth wrapped around Christ’s waist that dances in the wind. Blood visibly trickles from the corpse’s wounds. Behind the body, a red cloth is draped down the grey wall. At the base of the cross sits a skull and bone. The left panel portrays the Virgin Mary swooning in despair as Saint John attempts to support her weight. Her hands are clasped in prayer as she gazes up at her lifeless son. Both figures are clothed in pale draping robes. The vibrant red of the cloth that hangs from the grey wall in the background contrasts the subdued colors of the …show more content…
Rogier van der Weyden, one of the three great Early Flemish artists and the most influential Northern painter of the 15th century, seems to be rejecting the detailed realism that is characteristic of the Northern Renaissance and is demonstrated in some of his own works. What are the consequences of Rogier van der Weyden’s choice to include a continuous grey wall for the meaning of the work as a whole? To answer this question it will be important to consider the sparse nature of the setting in its entirety, the color used throughout the composition, and the detailed portrayal of biblical characters. This analysis is important to consider because it can help interpret what caused Rogier van der Weyden to stray from the common style of the Northern
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
Rogier van der Weyden painted his vision of the biblical Deposition before the year 1443, likely between 1435 and 1438. The painting is oil on wood panel and was an altarpiece commissioned by the crossbowmen’s guild in Louvain, Belgium. Jesus’s body is at the center of the scene, being carefully lifted down from his cross. He is surrounded by mourners, his mother, Mary, swooning in her grief as John the Evangelist reaches out to support her and Mary Magdalene wringing her hands, her head bowed in sorrow. The figures in the artwork do not fit completely within the frame of the altarpiece and the only the lower part of the cross is shown in full. In his Deposition, Rogier van der Weyden attempts to capture the extreme grief apparent at Christ’s death and reflect the emotion onto the observer, placing him/her within the narrative.
Bernard Van Orley painted the Virgin with Child and Angels (ca. 1518) near the beginning of his career. This piece brings elements from the High Renaissance as well as early Renaissance and hints of the Gothic era. Orley’s use of oil on wood in this piece has allowed him to paint intricate details on the structures in the building and the drapery in the fabrics, and the triangular composition in the foreground gives it a nice focal point. The first thing that captures the eye in the hierarchy of scale is the Virgin Mary, holding a nude baby Jesus. The lack of a golden halo on both figures is notable, bringing the world into a realistic perspective. Mary face and body encloses Christ with an expression of endearment, creating a circle that connects
Throughout the Renaissance, religion played a large role in the society. It was very common to make Christian-related paintings, for example, the crucifixion of the Christ or lamentations in late medieval Christ paintings at that time in order to spread the religion . Further explored by André Malraux, it is known within this period that art was made intentionally to tell a story, depicting a civilization through fiction, whereas their aesthetic value takes second place. One example that related to this argument is “The Lamentation with Saints and a Donor” by Bartolommeo Di Giovanni, a late Renaissance painting, made around 1480 – 1510 CE, a piece found in one ofs one of the collections at thein Art Gallery of Ontario Museum. This piece depicts
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
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...
The painting, the Way of Salvation was created between the years of 1365-1368 by Andrea da Firenze and is located in the region of Florence Italy. This picture, a religious painting, demonstrates the fresco technique and shows the role of Dominicans and the struggle for salvation (Davies 463). Religious Paintings were often “categorized as historical paintings and therefore the most prestigious genre by the French Academie de peinture et de sculpture” (Way of Salvation). They also depicted “incredibly detailed biblical scenes and generally large in size” (Way of Salvation). This time period followed the Black Death and saw many different types of tombs and chapels be endowed so that people and communities would have a place to be buried.
Nolde, Emil. The Crucifixion (detail of panel from the Life of Christ polyptych), oil on
The early 16th century in Northern Europe was vastly dominated by a changing religious and political shift, which had a profound impact on art. Due to the build up of the Protestant Reformation as well as the aftermath following, artists were no longer receiving religious commissions and found it necessary to expand their subject matter. During the turn of the 16th century, artists Hans Holbein the Younger and Lucas Cranach shifted to new commissioning political patrons residing in court who changed the artist’s typical subject matter to both i power portrait paintings and humanist style portrait paintings.
One of the very first well-known portrayals of this narrative was by Giotto di Bondone. From around 1304, it is an Early Renaissance painting. Jesus is lying down, cradled by the Virgin Mary, and Mary Magdalene is cares...
Jan Van Eyck, a Dutch painter, was born circa 1390AD. Born into the noble class of gentry, Van Eyck acted as a diplomat for several different Flemish courts. Because of his position as a representative, Van Eyck traveled all throughout England and France and was cuturally influenced by these excursions. In addition, Van Eyck was not placed under the financial stress of many Renaissance artists because of his family’s wealth. Therefore, Van Eyck focused on incorporating hidden meaning and detail into his works, without having to worry about deadlines. Furthermore, he was one of the miniscule number of painters that experience success during their lifetime; he could afford to employ full time assistants to help him fully express his creative genius.
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
In this report we will deal with Crucifixion of our Lord Jesus Christ. This report we'll have as bible text the gospel of Matthew 27:32-50, and these verses will be analyzed verse by verse. It's very great to observe that all gospels talk about Jesus' Crucifixion in a larger section than others events from his life. There is a great reason: for Jesus this last part of his work means the finishing God's plan of salvation. Paul says he humbled himself, and become obedient unto death, even the death of the Cross (Philippians 2:8). So we will observe the following of event as Matthew wrote in his gospel.
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
In The Dream of the Rood, an unknown poet dreams of an encounter with a beautiful tree of which this poet calls the “rood,” or cross, on which Jesus Christ was crucified. The rood tells the poet how it had been forced to be the instrument of Christ’s death, describing how it, too, experienced the nails and spear thrusts along with the savior. The poet describes many similar elements to the Crucifixion of Christ, triumph, and depicts with the wider Western tradition to medieval culture.