No one artist is the same as another, they may have the same style and possibly the same technique, but if they emerge spontaneously to each other there will always be some kind of difference. In the National Gallery this theory is evident, with the two artists that I will discuss, Grannaci and Uccello, hanging in the same room. Although they both belong to the ‘Early Italian Collection (c.1400 - 1500)’ and share some similarities — as many Renaissance paintings do, they are still very different works. This may be due to a number of reasons: their training, their handling of the medium, or simply the desired function of the painting. In …show more content…
They are both painted on wood panels, most likely poplar as this was the most commonly used wood in Italy at the time (Carr & Leonard, 1992: p. 52). The medium is tempera, most likely varnished due to the boldness of the red and the dark hues. Other than that there is a sensitive use of colour, with the pale hues of the niche perfectly sitting between the Virgin so that her and the child are the main focus. It is a portrait of the Virgin and Child, the title most apt in this case being Madonna the Mother as she is seen here holding him lovingly and the only way we know that we are looking at a religious image is due to the presence of two halos (Benedetti, 2002). His familiarity with classical architecture is evident in the background of the painting, a shell-shaped niche surrounds the Virgin and Child creating a sense of structure. The frame itself appearing as a window which the Child jumps out of, the anxious looking Virgin holding on tightly to him like a protective parent (National Gallery of Ireland [NGI], 2015a). Like Granacci’s painting this is a very informal image, the Madonna is not enthroned, though the architectural structure may be seen as ecclesiastical, and Christ is depicted carrying out the actions of an ordinary child. It is almost as if Uccello is attempting to give us a snapshot of their daily life when Christ was still a toddler. This suggests that this would not have been a devotional painting, but for a private collection. His training, which I previously mentioned, is clear, there is a hint of Gothic grotesque in the
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Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
The history of the Madonna and Child starts in the Byzantine era. In this era paintings were not meant to look realistic, but rather were supposed to remind the viewer of a story or theological concept, in this case usually the concept that Jesus was both fully God and fully human. The years progressed and these paintings became more and more realistic as the Renaissance era was ushered in. During this time period artists strove to paint more accurate representations of their subjects. Even during this time, however there was still a use of iconology. Though all of these paintings have basically the same content, with the addition of various saints and angels, the theology that we can see in each painting differs greatly.
When Shakespeare composed the tragedy Othello televisions were not. Along with no televisions, life in the late 1500s had many different qualities than it does today. This time period had no war on drugs and no high school shootings. Peer pressure was not an issue. The audiences of Othello in the 1500s did not face the circumstances that we, American high school students, face today. With these significant differences in daily life, come the attempts of movie creators to help prevent our modern day tragedies.
Many older plays or movies are remade to appeal to a different age of people. These renditions often follow the same story line with only subtle differences to be more appealing. Many of Shakespeare’s plays have been made into movies to enhance the studying or understanding of his plays. An example of this would be Othello which has been created into a movie called “O”. Othello and “O” both follow the same story line. The similarities between them make "O" an excellent rendition of the play. Othello by William Shakespeare and “O” directed by Tim Nelson are very similar in many ways; however, they have distinct differences in their Protagonists. The heinous villain, Iago from Othello and the devious teenager, Hugo from “O” have many of the
Othello The movie O, directed by Tim Blake Nelson, is a modernized version of the play Othello written by William Shakespeare. Both the film and the play bear striking similarities, although this adaptation of Otello also includes some different characteristics than the original play text. The similarities and differences are distinguished through the modernized plot, cinematic techniques used to illustrate the play text as a tragedy and successfully retaining the tragic structure of the play Othello. The modernized plot has a few similarities and differences from the original play text. In the play Othello, war scenes are performed off stage and are usually occurring during a storm.
“The Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold (Tomkins 2). Madonna and Child painting dated 1300 and was painted by Duccio di Buoninsegna a Sienese painter, who is considered the founder of modern Italian painting. I chose to research this painting because the subject matter of religious imagery and symbols interests me. Also because when I looked at the painting the emotion on the Madonna’s face almost jumped out at me. It is as if, she is looking at her newborn child with this deep sadness, which almost makes you think that the painting is foreshadowing the death of Jesus Christ. In addition, the burns of the side of the frame peaked my interest, as to why they were there. Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today.
Madonna and child is one of the early Christian paintings. It shows “Madonna” as the virgin Marry and the “Child” as baby Jesus. The artist Berlinghiero did this great painting in the Greca period in the twelfth century. This painting was done on wood with two figures in front of a gold background. Madonna is wearing a dark blue cloak with golden decorations that cover most of her body; she is also wearing a reddish dress underneath her cloak that is only visible on her arms. To show here modesty the only thing that can be seen is here arms, neck and face. Her hand has and unrealistic look to them so as if they look long and skinny. According to the museum label “Berlinghiero was always open to Byzantine influence, and this Madonna
Othello is noble, tender, and confiding; but he has blood of the most inflammable kind. Unfortunately, Othello was naïve enough to be swayed by Iagos misplaced trustworthiness and the accusations cause the entire play to unfold. Once someone brings up a sense of all his wrong doings, he cannot be stopped by considerations of remorse of pity until Othello has extinguished all that fuels his rage and despair. Othello is described as a “Moor” by his critics (Brabantio, Iago). A “Moor” is a slang word used for the dark skinned appearance of the Muslim people from the northwest part of Africa.
In Florentine Filippino Lippi’s painting Madonna and Child, he depicts a motherly woman holding an infant on her laps, who is trying to flip a book page. This work was painted in tempera, oil and gold on wood. In this painting of ca.1483-84, Filippino Lippi implies a mother-infant relationship between the two figures in the work, the woman as the Virgin Mary and the infant as the Christ Child in Christianity. The infant’s posture of reading suggests the relationship between the mother as Mary and infant as Christ Child. Also, the use of the expensive ultramarine blue not only shows the artist’s stunning richness but also their relationship in Christianity.
Tragedies and Comedies are two type of genres Shakespeare used to shape his many of his plays. Although these two may seem entirely different in their ideas and plots, they share similar emotions. Even though emotions can be depicted differently by the plot, they ultimately are the same when stripped and broken down into their core meanings. Jealousy is an emotion when broken down, can be seen as a representation of something that is negative and only brings hypocrisy along with destruction. Jealousy is an emotion that plays a crucial role in the two plays Othello and Much Ado about Nothing. In the plays Othello and Much Ado about Nothing, Shakespeare constructs a negative tone towards the ideas of jealousy by using protagonists decisions
Othello and Iago Comparison Othello and Iago are different in their characters as well as in their colours. It could be said also, however, that they are similar because of their fallibility. Iago is overcome with his desire for revenge to such an extent that he puts it into action. Othello's love and possessiveness of Desdemona take over him until he eventually would rather kill her than allow anyone else to have her. In this way, despite their contrasts, Iago and Othello both represent the extremity of the same thing - human emotion.
It’s medium tempera and oil on wood. One theory is that this work depicts a wedding. However, a second, more modern theory is that this work depicts a couple who is already married. This work serves as a double portrait of Giovanni di Nicolao Arnolfini and his wife (National Gallery). This theory implies that the wife is not pregnant, but is holding up her full-skirted dress as part of the fashion typical of the time (Jan Van Eyck's Arnolfini "Wedding" Portrait). A third theory is that this is a memorial portrait, and that the women on the right of the work passed away the previous year in 1433 (Van Eyck, The Arnolfini Portrait). Meanwhile, a fourth theory is that this work is depicting a male giving legal authority to another woman about a particular legal matter (Van Eyck, The Arnolfini Portrait). This next theory focuses on the symbolic value of the painting. Those who believe in this theory maintain that the work serves to show off the wealth of Arnolfini. The clothing the subjects wear, the furnishings in the room, the fruit, and the carpet are all symbols of their incredible wealth. The black dog is a symbol of fidelity of loyalty that is common in couples portraits. The last theory maintains that this is a religious work. There are religious symbols shown in this work. The two shoes of the subjects are off, which, during the Renaissance, served as a reference to a particular sacred event. The single