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My understanding of art
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throughout time there has been a lot of artist who have shown the history of the great leaders whether it is in a religious way or political way. There are many different viewpoints an artist can represent through a painting to help the viewer understand the beliefs and thoughts throughout that specific time. They can also illustrate the followers that led them into power. I wanted to analyze the followers of Christ and see how each era brought a new outlook on the life of Christ. Being that we have learned a lot about the rise of Christianity thought out the XIV century to the XX century. Reformation was a big thing during these centuries and many people contributed in the reformation in the 16th century. Luther, Calvin, Tyndale and the Anabaptists. …show more content…
This painting with the background and middle ground being mono-chromatic and the foreground and focal point being Christ in the two primary colors of red and blue. Mei is basically informing the viewer where he wanted them to look first. In this painting Christ is looking more aggressive, confronting an elderly women. With Christ right hand seems to be threatening as if it is to discipline her with the whip and the left hand restraining her rather than punishing the women. Dividing the composition diagonally with the strong inference of red. Bringing the doves to the bottom right corner. Looking closely you can see there is many hands within the left corner. Amongst them there is hands counting money and protecting their wares in the middle ground. Moving back to the focal point of Christ you can see that the face-to-face confrontation between Christ and the elderly women. Carefully you can see the realism within the facial features. Detail within the faces such as line and wrinkles suggest the age and creates’ tension between the two people evoking
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.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
Both Jan van Eyck and Fra Angelico were revered artists for the advances in art that they created and displayed for the world to see. Their renditions of the Annunciation were both very different, however unique and perfect display of the typical styles used during the Renaissance. Jan van Eyck’s panel painting Annunciation held all the characteristics of the Northern Renaissance with its overwhelming symbolism and detail. Fra Angelico’s fresco Annunciation grasped the key elements used in the Italian Renaissance with usage of perspective as well as displaying the interest and knowledge of the classical arts.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
1. Viladesau, Richard. "Counter-Reformation Theology And Art: The Example Of Rubens's Paintings Of The Passion*." Toronto Journal Of Theology 28.1 (2012): 29-42. Academic Search Complete. Web. 9 Apr. 2014.
The woman in blue seems to be Mary, Jesus' mother. We can notice that in her fall, her body takes on the same shape as Jesus’. On the left and right sides, we can see some people crying and some others trying to console them. Also, there is a man on the ladder, right behind the cross. This artwork appears to express an emotion.
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
The two paintings and artists I am going to compare and contrast are "The Last Supper" by Leonardo Da Vinci (1452-1519) and "The Last Supper" by Jacopo Tintoretto (1518-1594). Although I am not a religious person, the sight of the painting by Tintoretto amazed me for the simple fact that it is so different from "The Last Supper" I grew up with.
The introduction of Christianity as a major religion followed the pattern of other ancient religions. Many of the great works of art were done for religious purposes. Some of the most famous artworks in history are religious. Just a few that come immediately to mind are The Last Supper, the ceiling of the Cysteine Chapel, and the Statue of David. Even during the period known as the Dark Ages art was inspired by religion. True, the art was generally dark and full of death and demons, but the art was based upon religious themes, mostly from the book of Revelations. As with the art that preceded it, the religious art of Christianity is full of symbolism. For example, a painting where the man is standing with two fingers upraised on his right hand is generally a religious leader such as a pope or Jesu...
Art is important to religion in many different ways. Perhaps none has analyzed how art and religion have influenced and affected each other through the ages. Pictures painted of past events that help to bring back the feeling and importance of the past have been forgotten by some. To the one’s that haven’t forgotten are able to see the event’s as the bible says they happened. Not only can you see the events, but it also allows the younger students of the church to understand the events. The use of images of God became widespread after the second century. This religious art has defiantly been around for centuries and plays an important role to the history of religion as well as the future.