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The composition of the school of athens
The composition of the school of athens
The composition of the school of athens
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Pesaro Madonna, painted by Titian from 1519 to 1526. Pesaro Madonna is a 16 by 9 feet oil painting commissioned by Jacopo Pesaro, who was the military leader that defeated the Turks in the retaking of Santa Maura, 1503. In the painting, the Virgin Mary and baby Jesus are sitting on top of large marble steps leading out of the painting at the base of a large column. Mary is wearing a bright red and a navy blue robe with a white mantle on her head. She’s holding Jesus who is nude and playing with her mantle. Jesus is looking towards his left at St. Francis, recognizable by the stigmata marks on his hands. St. Francis is gesturing at the Pesaro family, looking back at Jesus. The Pesaro family is in the shadows, and one member of the family looks …show more content…
In Raphael’s School of Athens, and even in Titian’s Assumption of the Virgin, the perspective is straight on, with the main focal point in the center. In the Pesaro Madonna, the main focal point (Mary and Jesus) is off to the viewer’s right, and they are the top of what some call a scalene triangle, with the Saints on the sides and the Pesaro family on the bottom. Placing Mary and Jesus off to the side was unheard of in Titian’s time. And the lighting of the scalene triangle could represent the most to least holiest people. The Madonna Mary and Jesus are the most illuminated being the holiest figures in the painting, being the apex of the triangle. Saint Peter and Francis are the second holiest. And the least holiest would be the Pesaro family, and even less so the Turk in the corner, whose face is in the shadows. Above the figures are two naked angels on a dark cloud, playing with a cross. In the background, two giant columns slice across a cloudy blue sky and disappear off the painting. The columns were also a common feature in Renaissance paintings, and many artists during that time would add architectural elements to the
which cover his waist and some of his torso. He is holding a very tall, slender cross in his left hand, while looking with a diffused look to the right. Also, to the left of him (to the right from the viewer’s perspective) there is a sheep lying upon a rock.
Jesus’s body is centered in the middle of the altarpiece, positioned in an elegant curve as his lifeless form is removed from the cross. His body is sickly thin, ribs easily visible
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.
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...
Madonna of the Meadow was a painting by Raphael Sanzio, using the medium oil on panel in 1508. This painting expresses a sense of sweetness, softness, and overall a general, subtle, warm and comforting feeling. Venus of Urbino was painted by Titian in 1538, using the medium oil on canvas. This painting expresses a sensual feeling and one of lust and true beauty, quite different from Raphael’s painting. While both artists chose to use oil paint, which was common during that time, Raphael painted on paneling, whereas, Titian chose to paint on canvas.
“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.
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...
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
Masaccio used a technique called linear perspective. This technique allowed Italian artists to measure space so that all the objects in the painting are in proportion to each other. In this painting, Jesus is put intimately close to the scene by using linear perspective. An illusionistic hole is painted into the painted wall and this makes his portrayal more believable. Masaccio also used the technique of tonal modeling which created believable, almost sculptural figures proportionally related to one another to occupy that space. Both of these techniques helps to create good proportions and make the painting more realistic. Another technique that he uses is stage modeling. This means that the holy trinity is meant to be viewed from below and at a distance, like actors on a stage before an audience. In particular, this approach is based on a more human- centered view, locating a single spectator that is standing at a particular spot. In this painting, Jesus is the focus of the painting. In contrast, the Annunciation panel (from the Merode Triptych), which was painted by Robert Campin uses other techniques that greatly change the way the painting is
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
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.
...example, Jesus is calmly gazing upon Judas’ face with the expression of acceptance for what is to come, and Peter has a grotesque look of fury as he smites the ear off the high priest’s servant.
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.
Madonna is a controversial legend whose attitudes and opinions on sexuality have forced the public to take notice and change the image of females in society. Madonna believed women’s sexuality was a natural aspect of life; therefore, she dared to challenge the rules and definitions of femininity and sought to expand the meaning of it. In a male dominated world, she wanted to focus on the importance of women and let them have a voice of their own. Madonna shattered all the myths on traditional beauty standards and made her statement on sexuality and feminism, which changed how society viewed the standards of beauty. She impacted female power by encouraging sex- positivity into her music and her style. It is mainly because of Madonna that ordinary women, and women in modern entertainment have more choices and freedom which continues to influence further generations.
During the Renaissance, the Virgin Mary was prevalent theme throughout this period where artists such as: Fra Angelico, Leonardo da Vinci, Raphael, Bothicellical and Perugino were inspired to paint the Virgin Mary. The paintings show a motherly pleasant looking women holding or caring for her child. The paints are capturing the Mary as a human but giving her a divine appearance. The child being Christ shows her power by giving birth to him and by caring for the Son of God. In essence providing love, caring, and protection for the young child of God. For example, plate 15 and frame 23, these plates show a compassionate caring mother that is humanistic in depiction but larger or more encompassing of the painting than the Christ child. This is implying her importance in the early life of Christ. This also shows the power or her earthly influence over the child even though she is a human and not a deity. This gives her a special place in the church as the earthly Mother that is the most perfect of humans, other than Christ.