Banana Flower by Georgia O’Keeffe and The Holy Family with a Kneeling Monastic Saint by Elisabetta Sirani are the two pieces of artwork I chose to compare. Banana Flower is one of Georgia O’Keeffe’s many charcoal drawings. It is said that her love for nature inspired a lot of her flower drawings. Banana Flower is an example of dry media. Dry media includes charcoal, chalk, metalpoint, pastel, and graphite. This particular drawing was made using charcoal. Charcoal has to be used on a special type of paper with a rough surface. Charcoal is made from burnt wood and smudges very easily. Fortunately, a synthetic resin fixative has been invented to refrain charcoal from smudging. This flower has shades of light and dark black and gray. Shadows are cast along the flower as well. The technique used to determine how light or dark the charcoal appears is based off of how much pressure the hand uses while it is bearing down on the paper. If the charcoal is held like a pencil it can create thinner lines. Thicker and bolder lines can be made by holding the charcoal on its side. …show more content…
Liquid media uses either a pen or a brush to apply the ink. During the Renaissance, many of these pieces of art were made with iron-gall ink. This ink was made from an acid found on the swelling on an oak tree, which was called a nutgall, and was mixed with iron salts. Elisabetta Sirani used a quill pen and ink, along with a little bit of black chalk to make this picture. The ink better shows the shadows with more fluidity as opposed to chalk, or charcoal, or any other dry media. Shadows are cast on the faces of the people in this artwork. There is a man sitting in the back behind a woman hold a baby. The baby is reaching out towards another man who is kneeling beside the woman. The kneeling man represents the
Holy Feast and Holy Fast emerged as a pivotal work during the mid-1980s in response to a prevalent trend among scholars which placed apostolic poverty and chastity at the very core of the Western European vita religiosa at the expense of attention toward the forms of austerity, some of which were more common to women. Bynum builds up her narrative by exploring how, although the renunciation of money and sex had a shared significance to both genders, the chief metaphor governing the spiritual life of women specifically concerned food. Bynum weaves her monograph together through a careful analysis of both food symbolism and food-related religious practices as described in the works of female mystics themselves and in the hagiographical vitae of female saints. Although this review will be chiefly focused on the latter portion of the work, “Chapter 6: Food as Control of Self” in particular, a brief overview of its preceding sections may be useful for setting context.
Her work resembles fossils and botanical illustration pages at the same time. Her simplicity and willingness to give back to her community is also an attribute I admire of her. Her work is important because of it has been used a medium to convey precious memories through the preservation of flowers. This artist inspires me because of her mastery of such a simple technique to create beautifully simplistic, yet intricately detailed works. This is an aesthetic I hope to achieve in my personal work because of my love of detail and organic shapes, such as flowers. It is amazing how she has achieved such wonderfully detailed and organic shapes using a medium that I never thought to be used in such an organic
The color on the floor are very different, she is holding a twig she look down. The style and dark background add to a sense of feeling. At the back of Virgin Mary, the closet was old but looks clean, with all the furnishing. The clothes they wear were very simplicity, with all the light colors. The mixed color of the curtain with all the stripe, the panel was almost certainly commissioned as a private devotional image , not as part of a large structure. This was one of the most celebrated masterpieces in the Robert Lehman Collection. Angel Mary wears yellow with pink apparel on the top, she looks very serious as she look at one perspective. The painter used rough brushes on the ground makes it more realistic. In the Sandro Botticelli painting, the window looks proportion, and the window illuminated the scene of the tree, with light blue and green. In addition, on the top of the ceiling, the light blue and yellow mixed fits perfectly, The characters are focused on one event, the body are proportional as the bend their knees. The deep background of the frame gives a sense of the perfect event. The way paint was applied on the thick, such as the curtain, and
The Altarpiece of Saint Peter Art is a window to the past and there is no place other than the many museums of the world where this is more strongly felt. More specifically, it is also seen through Martin de Soria's work, The Altarpiece of Saint Peter, which was completed around 1480. According to the panel near the altarpiece in the Museum of Fine Arts, Boston, the piece is an enormous work of tempera on panel with parchment ground; it is a typical Spanish altarpiece of the medieval period and is comprised of a complex arrangement of twenty-six paintings. This piece was chosen as a representative of the medieval period because its emphasis is placed entirely on religion, the style with which it was painted and decorated
Little is known of the early life of the Flemish Cistercian nun, Blessed Beatrice of Nazareth. Beatrice of Nazareth was born in the year 1200 in the town of Tienen, Belgium (Lindemann Ph.D n.d.). She was the youngest of six children (Lindemann Ph.D n.d.). De Ganck (1991, xiii) concludes that Beatrice is of middle class, “well-to-do, but not wealthy as has sometimes been asserted.”
In the early 16th century the Netherlands experienced what was called “tulip mania” this was the beginning of the nations love for flora and foliage (Taylor 13). The result of this impressive flower invasion was a society that took a historical turn from which the results still remain today. Flower merchants, botanists and floral still life artists, were occupations that were an accurate reflection of the Netherlands demands (Brown). An interesting example of a life that was effected by, and devoted to the archiving of the flower craze was Rachel Ruysch (1664-1750) the 17th century Dutch flower painter. Rachel Ruyschs’ career straddled the 17th and 18th century, and her stunningly accurate floral pieces reflect the maturing, yet evolving art of floral still life painting (“Rachel Ruysch: Bibliography”). Ruyschs’ Still Life with Flowers on a Marble Tabletop (1716) is an excellent example of a painting that appropriately represents the genre of art that was created solely through specific societal events.
Contrary to common belief, saints are not perfect. Saints simply seek Christ more than anyone else. Saints understood the need for Christ in their own lives through their own experiences. St. Teresa of Avila did not live a perfect life, although she strived to after her conversion. St. Teresa, after living in the world, realized her desperate need for a personal relationship with God, but by no means was she perfect.
The two artworks I decided to discuss are A thousand peaks and myriad ravines by Wang Hui for the Chinese artwork and View of Kojima Bay by Ike Taiga as the Japanese artwork. Both these share a few similarities including the subject of the artwork being the landscape and naturalism. In A thousand peaks and myriad ravines by Wang Hui you can notice very clear detailing and lining from the top trees of the mountains to the very small fishers and scholars portrayed towards the bottom and center of the artwork. Primarily, this artwork emphasizes the detail. The portrait is mostly taken up by the mountains and that around it. The range of colors used in this hanging scroll consist of the grey scale and a golden bronze done with a very thin brush.
The print of art is a Hiroshige, Plum Garden at Kameido, 1857, woodblock print. The print shows a calm and peaceful color of a regular day. The background consists of wash colors like reddish-pink that fades into white, and transfers once more in a green hue of the greenish ground. The image is showing a view of a several plum trees, with the stems, the flower, and the people on the other side of the fence. This work has a light pink background symbolizing the sunset and warm colors of the spring. The middle ground in the light white color shows the piece where there are people on the other side of the fence and appears to be walking around the garden or going throughout their daily business. The middle ground also has a view of several plum trees, which all of them seem to be inside of the fence. The focal point of the piece is the main plum tree with its branches swinging from the left at a sharp angle and moving to the right.
The style of painting is using the European methods. The lines are simple
This is an image that I think of when I consider Japanese culture. They love gardens like this and you see similar images often when considering their culture. It is difficult to tell for sure, but the people in the distance appear to be dressed up. It is as though they have put on their best clothes to step out and enjoy this relaxing setting. I believe that this print is successful at capturing a moment in the mid 1800’s very well. It causes me to sense and experience what the artist was trying to capture. This print seems to conform to the formal theory of art. The print has only images of each object. None of them are particularly detailed or real to life but they do a very good job of organizing and describing the basic elements of the scene. It uses similar colors, shapes, and lines to those one might find in this garden in
For example, Masaccio used the medium fresco. It dries quickly and requires the artist to work fast with color broadly applied. This medium enables Masaccio to create generalized forms over the precise details of oil and tempura painting. However, Campin used the oil medium. This gave him the ability to create jewel-like illusions of reality. Campin and others of this era were motivated to paint the external world and all the different facets that create it. On the other hand, Masaccio wanted to create a painting that is more realistic and wanted the people to be able to relate to the art. Also, both artists use light and shadow to highlight and emphasize different parts of the paintings. For instance, Campin lit the room with sunlight and put a focus on Mary’s dress. This lighting causes the dress to turn into a shape of a star. This can symbolize the presence of the star of Bethlehem. Many other religious symbols are found in the painting. The eyes are not drawn to a particular object. This is not the case in Masaccio’s painting. He does not particularly shine light on one object. Even though the eyes are drawn to Jesus, we get a sense of balance between all the objects. This portrays faith and it’s mysteries as well as the perfection symbolism that comes with God. Masaccio creates a three dimensional like form even though it is on a two-dimensional surface. The painting shows
The historical painting I chose for my final, is an illustration of Bret Harte’s novel, Her Letter, His Response, and Her Last Letter, creatively illustrated by Arthur Ignatius Keller in 1905. The historical painting I chose for the comparison of Arthur Keller’s painting is another painting done by Arthur I Keller; illustrated for 54-40 or Fight by Emerson Hough, in 1909. Arthur I Keller is a very natural, elegant style painter, with an eye for natural beauty. Keller’s many paintings express intricate detail, and genuine quality. Although I picked two water color paintings out of Arthur Keller’s many collections of paintings, he also uses charcoal, acrylics, oils, and pastels to create other works of art. In both paintings I chose, Arthur Keller uses water color and gouache to paint people. Arthur’s first painting I mentioned, illustrating “Her Letter” is a more detailed painting. Keller uses water color to create a graceful look to his painting; his delicate balance of color, keeps the viewer’s eyes wandering around the painting. The focal point in the painting does not catch the viewer’s eyes because of heavy, dark colors, but because of the proportion differences of the people he implies. The painting gives off a very old fashioned feel, in a tasteful way. Arthur Keller’s second painting, illustrating “54-40 or Fight” has a completely different color theme, and gives off more of a mysterious, dark feel to it. The painting is detailed, but in a more simple way, and there is less negative space. As to where Keller’s “Her Letter” painting had a lot of open areas on the canvas, this painting, displays two people in a small enclosed dark room. The focal point is more dramatic, and a lot more obvious because instead of using sizing,...
The author creates imagery for her readres to visualize her perspective. Didge conveys in her essay “Flowery and beautiful, it
One of the paintings done by Rococo was that of a girl in a field, in the presence of string wind that blowing up her dress and hair. This painting uses a wide range of pastel colors and has graceful curves that embellish the lady’s figure (Adams, & Adams, 2010).