Comparing Madonna And Child With Two Donors

456 Words1 Page
bulb-icon

Recommended: Berlinghiero madonna and child compare

Two paintings: Holy Family and Fragment of a Portable Triptych: Madonna and Child with Two Donors are both contain Virgin Mary. These two paintings have huge differences on style, and the charactors in the Holy Family is more vivid than the Madonna and Child with Two Donors.
The Holy Family consists of the Virgin Mary, the Child Jesus and Saint Joseph. In the foreground, Mary is holding the Child Jesus and sitting next to Saint Joseph. Mary is wearing a maroon long dress with a fulvous cape and a purple head scarf. She looks tender with a smiling, peaceful face. The Child Jesus is lying on her arm and wrapped with a piece of blue-gray fiber. Saint Joseph, who is sitting next to Mary is in a dark red gown, is looking at the Child Jesus seriously. …show more content…

Light is represented and lines are thin and continuous, which are used both in outline and details. The artist mainly made Mary centralized since she is in the foreground of the painting. She is also bigger and brighter than Joseph. The proportion of three characters is realistic, they seemed just as normal people.
Another portrait Madonna and Child with Two Donors simply narrates the Virgin Mary and the Baby Jesus on her arm. Mary is sitting on a chair in the middle of the artwork. She is wearing a blue gown with a head scarf in the same color. The Baby Christ is in ruby red clothes, sitting on Mary’s arm and looking at her. Besides these two main roles, there is a very short man and a very short women in red clothes standing on both sides of the chair. They are looking at Mary and praying devoutly. It’s easy to say the center of this painting is Mary and Jesus because they are in the middle with halo around their head.
While the characters in the Holy Family is vivid, people in Madonna and Child with Two Donors do not have that much lifelikeness. There are some factors contribute to this result. Firstly, The facial expression and body language in Madonna and Child with Two Donors looks weird and unatural without much emotions. Both of them don’t have any smile, and Mary’s posture looks stiff without

Show More
Related

  • Rogier Van Der Weyden's Deposition Essay

    559 Words  | 2 Pages

    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.

    Read More

  • Compare The Portrait Of Marie Antoinetttte With Her Children

    703 Words  | 2 Pages

    The piece shows Marie posing with her three children, the reason for this painting was to create a public message depicting her as more than just elegance and put her on the same level as the general public. Because the painting was meant for the eyes of the general public the painting is rather bland and lacks detail. Instead of Marie looking down on the population showing off her lavish and extravagant items she has just her children attempting to depict herself as a regular mother just like every other female raising children. There is very little details in the paint except for the empty baby carriage which was most likely only included to honor the death of one of her children at a young

    Read More

  • Bernard Van Orley's Virgin With Child And Angels

    1096 Words  | 3 Pages

    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

    Read More

  • Madonna And Child Giotto Comparison

    1013 Words  | 3 Pages

    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.

    Read More

  • Critique of The Raising of the Cross

    844 Words  | 2 Pages

    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...

    Read More

  • Rosso Fiorentino's The Descent From The Cross

    1285 Words  | 3 Pages

    Immediately below the head of that man is the olive colored body of Jesus Christ. Jesus’ head is dropped back and his body is limp, being held up by two men. The only article of clothing Jesus has on is small, white wrap that covers his genital area. A male figure, dressed in a mainly dark blue wrap, holds the torso of Jesus. His left arm is grabbing Jesus and his head and dark brown hair peak out behind Jesus’ shoulder. This man is standing, barefoot, on a ladder that rests sideways on the middle beam of the cross.

    Read More

  • Madonna Of Urbino Analysis

    638 Words  | 2 Pages

    Raphael’s painting is arranged with the Madonna in the middle and the two infants placed in her arms and at her feet, allowing for them to capture the viewer’s attention as well. There is no one focal character, as each is placed to draw attention to all three of the characters as a whole, something that is not seen in Titian’s Venus of Urbino. In Titian’s, Venus of Urbino, Venus is clearly intended to be the main focal point, whereas the two other characters in the background are meant to support but not overpower Venus herself. The differentiation between these two character placements in each painting is extremely important when it comes to determining the overall meaning and understanding what the artist was trying to portray with their works of

    Read More

  • Duccio di Buoninsegna's Madonna and Child

    1552 Words  | 4 Pages

    “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.

    Read More

  • Lamentation and the Evolution of Technique

    920 Words  | 2 Pages

    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...

    Read More

  • Analysis Of Madonna And Child With Two Angels

    864 Words  | 2 Pages

    Piero della Francesca presented an iconic image of the Renaissance in Italy in his own way, highlighting the two most important idols of the Catholic church, Jesus Christ and the Virgin Mary. Through oil paint, he connected sacred biblical meanings into his own masterpiece. He devoted Christ to portray him in a scene of blessing with his surroundings and other holy figures. The Madonna and Child with Two Angels (Senigallia Madonna), is a piece created with such emphasized meaning and such divinity of the holy, Jesus Christ and his mother the Virgin Mary.

    Read More

  • Madonna And Child Berlinghiero Analysis

    265 Words  | 1 Pages

    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

    Read More

  • Analysis Of Madonna And Child Enthroned

    703 Words  | 2 Pages

    In Giotto’s Madonna and Child Enthroned I see an older renaissance painting of a woman and her child. The child is sitting on the lap of his mother who is sitting on a large burgundy throne in the middle of the painting. The woman is dressed in a navy cloak while her child is clothed in a pink robe. Above the child’s head there is a yellow circle. This circle is a renaissance symbol for religious leadership or importance. Surrounding this throne are a gathering of angels. There are exactly seven angels on each side worshiping this mother and child. The background consists of a yellow brick pattern.

    Read More

  • Analysis Of Cassatt's The Child And Mother Nursing Her Child

    1035 Words  | 3 Pages

    It differs greatly, in its portrayal of mothers, from Le Brun’s Self-portrait with her Daughter and Cassatt’s artworks. Behind Marie Antoinette, you see a jewelry cabinet, off to the right of the canvas. This illustrates that, although she is with her children, she finds treasure within her own materialistic objects. Furthermore, her expression lacks emotion as she holds the child loosely within her arms. The child looks off, barely acknowledging its mother, who is holding him. Next, the child, on the far right of the canvas, reveals an empty cradle, alluding to a child who has died. Again, Marie seems unfazed or simply chooses not to acknowledge the boy’s actions. Furthermore, the young girl, on the right of the canvas, clings on to her mother as she lovingly looks up to her mother. Marie holds a wry smile, appearing somewhat annoyed or displeased. The color scheme is dark, but Le Brun utilizes contrast to emphasize the royal family. However, it only works to further expose the detached relationship between a Marie and her children. According to the lecture, “To counter people’s hatred of the queen and their criticisms of her as a bad (even a degenerate) mother, Vigée Le Brun was commissioned to paint this portrait of Marie Antoinette and her children” (Gartrell). Sadly, the painting was

    Read More

  • Virgin Child And Saint John Analysis

    866 Words  | 2 Pages

    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.

    Read More

  • The Annunciation: A Painting by Francisco de Zurbaran

    972 Words  | 2 Pages

    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.

    Read More

More about Comparing Madonna And Child With Two Donors

Open Document