The chosen art work is "Miracle of St. Dominic." This painting is a tempera on panel, painted by the Renaissance artist Taddeo di Bartolo, in the year thirteen sixty three. The painting is currently housed at the McNay Art Museum, measuring approximately 10" high by 10" wide. In this particular painting we are witnessing a miracle by St. Dominical. There are spectators and a horse that lays above the man in red, who St. Dominical has brought back to life.
Bartolo's painting is asymmetrical. Viewed at eye level, if we were to fold it in half, the horse would not lie evenly on top of itself. Its facial features and its long neck would not be symmetrical with the rear end of its body. Although the spectators and St. Dominic are in a normal proportion and scale the spectators they would not be able to lay symmetrically either. Consequently, because of where and how they are placed on the picture plane.
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
The sunrise in this painting is considered the vanishing point; there is no reference to clouds, sky or land. Even though there isn't any man made objects the giant rocks or mountains have parallel lines that exceed to the sunrise. There is also two focal points in this work of art. To emphasize the focal points Bartolo uses elements of design. One of the focal points is the horse which is located in the center of the picture plane. The horse does not gasp all the attention it also permits the viewers to focus on the second focal point, which is the man in red kneeling down in front of St. Dominic. The color red attracts our attention to this man. There are also line of sight directed to him by St.
...tion of the monument. The person can clearly see that the angel is looking directly down towards the man, in thus making the man as the implied shape of the Monument to Mignard painting.
...is the focal point with the orthogonal of the gestures of the apostles lining up towards it. Masaccio makes good use of chiaroscuro, since his figures have soft, round edges and their bodies are apparent under their drapery. The drapery shows creases and edges which allow for that to happen. Masaccio also employs directed lighting in which the sun comes from the right and all the figures’ shadows are to the left, which is what would happen in real life. Furthermore, Masaccio uses soft, subdued colors, such as green, blue, and pink. The mood of Massacio’s painting is static with all the figures standing in contrapposto with their one knee sticking out and the individuals in Classical and naturalistic proportions. Masaccio placed his scene in the recognizable Arno Valley. Also, Masaccio’s story has no disguised symbolism and rather depicts a straightforward story.
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
The painting was done on a canvas using oil as its medium measuring at 107 cm in height and 146 cm in length. The story behind this art was the saint doubts the resurrection of Christ, saying "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." (artble.com 2015). In this painting, I found it to be amazing how Caravaggio is able to use chiaroscuro to draw the attention into the figures of Jesus and Thomas. From the left side of the painting, Jesus is wearing the white robe with light skinned painting leading to the saints with light to darker red on the right side of the painting. To make Thomas stand out from the other two saints in the painting, he is the only saint to have a rip on the shoulder seam with a lighter white color showing out and his fingers poking into Jesus wound. In this painting, I am most astounded by the way he portray the four individual heads to unite into focus on the wound of Jesus drawing the viewers’ attention to the area of
The artist’s use of line to create movement in the painting is very obvious. Lucretia’s body creates an implied diagonal line which shows action and movement. Additionally, the cloak is also very curvy, appearing “fanned out”, as if she is in the midst of backing away. As well, the curtains are implied curves, and the furniture is an implied diagonal. These lines leave the viewer wondering what will happen next. With these repeated curves and diagonals, the artist creates a sense of unity and rhythm, helping the viewer “read” the composition, or move their eyes through it. The dominant shape repeated in the composition is organic, which also adds unity to the piece. Evidently, there are no horizontal lines in the painting, but the subordinate columns bring variety to the painting in that they are both vertical and geometric, in addition to symbolizing power. Furthermore, the primary color red dominates, creating unity; it appears in Lucretia’s outfit, the furniture, and the curtains. Interestingly, red is the color of danger, since it is the color of blood, and therefore, death; it is also the first color noticed by the human eye. Her gown is also has some white, a neutral, which represents purity and surrender. The artist did not use a warm, nor a cool color scheme in the
The main focal point of the painting is the dark-colored man with no shirt, laying on the right side of the boat, which is in the center of the middle ground. The dark-colored man is a focal point because he is the only person in the boat and it is surprising how he is not looking at the sharks, but is instead looking towards the right. He symbolizes mortality and survival in the middle of danger because in his hand he holds a sharp wooden object that he used to stab the sharks, which resulted in the red hue on the water. Also, the man’s posture of looking away from the sharks and having a fixed gazed connotes his audacity, perseverance, and braveness against anything that passes through his way like the sharks. His posture is saying to ignore
By providing directional cues of where to look and when, the artist allows outsiders to grasp the context and connect with his purpose. At the foreground, Gatto forms a diagonal line from the tunnel to the bottom left corner. This dynamic line emphasizes the train’s movement towards front, making viewers feel as if they are watching it pass by in real life. From this point onward, he prompts our eyes to move from left to right with horizontal lines. He forms horizontal lines with the linear stretch of mountain and the parallel clouds; in addition to this, four boulders are also positioned across the horizon. Consequently, the viewers stop focusing on the main subject’s action and expand their field of view, leading them to admire the beautiful nature that surrounds the
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
“Communion of St Jerome” painted by Domenichino Zampieri is an oil on canvas painting created in 1612. Domenichino was an Italian painter born in 1581 who focused on making art that was directed towards Catholic beliefs and customs (WJ.Burghardt, 2018). As depicted in the painting, Saint Jerome who is on the verge of death is being held up by a group of individuals while the priest serves him his last Eucharist.
The use of light helps to highlight the different focal points on the picture as well as adding definition to the subjects. The points of the light illuminate the characters and establish an order in the composition. The light that illuminates the room from the right hand side of the painting focuses on the viewer’s look on the main group, and the open door at the back, with the person positioned against the light, is the vanishing point. Velazquez uses linear perspective, tone and overlapping shapes in order to create the feeling of depth in the painting. The mirror which reflects the monarchs is a key piece, it transforms the reader into an integral part of the painting and its composition. The king and queen been sketched with quick brushstrokes so that the reflection is the same that the viewer
The table placed like a long horizontal line through the whole painting, both the formatted of a stable atmosphere. Plus, the image of Jesus' calmness, majesty, and the composition of the twelve disciples on both sides of the composition, forming both static and dynamic. At the same time, the table put against the audiences while adopted a completely open art approach, so that audiences could to be immersive. Leonardo da Vinci combined thirteen characters with full expression of both different and closely
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
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
The key elements and principles of this first piece is lines and contrast. The lines created throughout the painting are placed everywhere from
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.