I believe the two artworks of pair number six are similar in terms of their subject matter and content, however, the method of showing the content differs and the context behind the content does as well. I also believe that Matthias Grunewald uses a similar triangular composition from Pietro Perugino’s painting “Crucifixion with the Virgin, Saints John the Evangelist and Saint Mary Magdalene” in his own work, the “Isenheim Altarpiece.”
First, both artworks are about the crucifixion of Jesus Christ and have the focal point as Jesus on the cross surrounded by saints. Perugino’s painting, the left artwork, has four saints (from left to right): Jerome, Mary, John, and Mary Magdalene (Adams 322). Likewise, the right artwork by Grunewald has (from left to right) saints Sebastian, Mary, John, Mary Magdalene, John the Baptist, and Anthony, in addition to the characters on the base placing Jesus in a tomb (Hayum 503, 510). I believe the artworks share three specific people because the works are depicting the crucifixion as it is documented in scripture, and those three individuals (Mary, John, and Mary Magdalene) are said to have been with Jesus as he was dying on the cross.
However, I believe the two artworks depict their content of the crucifixion differently. According to Laurie Schneider Adams, “Perugino’s Crucifixion,…painted around 1485, conveys a mood of serene resignation,” and I believe Grunewald’s work shows the opposite of serenity (321). In the artworks of the Renaissance I have seen, all works appear to have the same mood of serenity or calmness; there was no intense emotion, pain, or agony. Therefore, the left artwork can be said to be characteristic of the Renaissance’s art style. In contrast, Grunewald’s right artwork p...
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...ered to. In addition, Grunewald’s particular selection of saints Sebastian, Anthony, and John the Baptist also relate to the right artwork’s secondary purpose per their patronages. Christians associate St. Sebastian with the rejection of disease, St. Anthony with the curing of disease, and St. John the Baptist with the healing nature of water in the Christian sacrament of baptism (503, 510). Therefore, a patient with (or at least familiar with) Christian beliefs of the crucifixion can be uplifted by the promise of healing because he or she could identify with the saints depicted and in the image of Christ suffering (Hayum 509). In this way, the right artwork’s content both harmonizes with the church architecture and helps the hospital patients bear their sufferings as Jesus did, whereas the left artwork only accomplishes harmony and symmetry with the space around it.
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
Baptist, were both written by the same artist. The actual name of this artist is Dominikos Theotokopoulos, but some people prefer to call him El Greco, which in translation simply means “The Greek.” Both paintings were written by El Greco towards the end of his life, and both are of important religious figures in Christian religion-one of St. Francis and the other of St. John. Both are similar in style and composition, and both were written in practically the same time period, approximately only five years apart. St. Francis was written at about 1595 and St. John at about 1600.
Deposition, by the artist Rogier van der Weyden, attempts to capture the essence of the grief experienced when Jesus’s died on the cross, and to invoke the emotion in the altarpiece’s viewer, thus drawing him/her into the biblical
One obvious difference in the two paintings is in the choice of colors used by the artists. Paolo Caliari’s use of lighter pastel colors in Annunciation could be due to the angelic presence being illustrated in the painting. The light colors create a heavenly feeling; darker colors would be less likely to have the same effect of inducing the feelings of comfort and serenity that these light colors do. On the other hand, The Raising of Lazarus uses bolder, darker colors; Wtewael utilized these colors because they are more appropriate for the austere scene of people that he is depicting. Light colors would have clashed with the darkness of the distressed facial expressions and body gestures of the people in the painting. Unlike Annunciation, the colors in The Raising of Lazarus stand out only in the foreground of the painting in order to draw the viewer’s focus to the subject instead of the background.
The depictions include: the properties of God, manners of longing of God, manners of knowing, the gifts of God, degrees of bliss, properties of the hazelnut, three wounds in her life, the virtues of Mary, the means to come to heaven, the aspects of the “fiend.” All of this language is celebratory. George Tavard’s article “The Christology of the Mystics” notes the pattern found within Julian’s visions or “shewings”: “ They follow in the main, the sequence of the Passion: (1) crowning with thorns, (2) the discoloring of Christ’s face, (3) the creation, (4) the flagellation, (5) Christ’s victory over the “Fiend,” (6) the heavenly reward, (7) God’s goodness, (8) the death of Christ, (9) the relation of
Duccio di Buoninsegna and his workshop differ from Joos van Cleve in numerous ways. Both artists were influenced by the different works of their time. For instance Duccio lived and worked during the time between Late Medieval art and Pre-Renaissance, which emphasized a change from merely concealing the figures to making them more realistic than previous works of art. Joos van Cleve resided in the Renaissance period, which was later than Duccio by over two hundred years, where the act of making figures more lifelike with an increased amount of depth had been perfected. These differences and similarities can be most clearly seen with Duccio's Triptych: the Crucifixion; the Redeemer with Angels; Saint Nicholas; Saint Gregory and Joos' The Crucifixion.
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.
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...
A common topic of artwork throughout history has been the crucifixion of Christ. Since it is such a common topic, it makes it very easy to see how artwork changed and developed from the Middle Ages to the Renaissance. The painting on the left, The Crucifixion by Pietro Lorenzetti, shows the usual characteristics of a painting from the Middle Ages. The facial expressions are not varied or very in depth, Jesus and the other saints have the typical halo that is used very often, and the colors are mostly all bright, making nothing in particular stand out. The second painting, on the right, is by Caravaggio and is titled The Flagellation of Christ. There is an obvious shift from one painting to the next. Caravaggio’s piece is much more realistic.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
These twin bronze pulpits, covered with reliefs showing the passion of Christ, are works of tremendous spiritual depth and complexity. Even though some parts were left unfinished, they had to be completed by lesser artists. Bibliography:.. 1. What is the difference between a. 1998 Microsoft Encarta. Copyright 1993-1997 Microsoft Corporation.
The Lamentation, or Pietà, is a common Christian narrative that depicts Jesus Christ’s family mourning over his body after he has been crucified. Many artists choose to interpret it and paint it in their own way, which is why I decided to use it for this paper. The Pietà, I found, is more of a detailed version of the Lamentation that is mainly only Mary mourning over her son. In general, the Lamentation includes Mary and other religious figures—“full” Lamentations include The Three Marys, John the Apostle, Joseph, and various other people such as angels and donor portraits. As time went on, some scenes became continuous narratives, showing other subjects adjacent to the Lamentation in the Passion of Christ. Meanwhile, others expanded in terms of their scenery and other specific details.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
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.