Hieronymous Bosch’s painted Saint Christopher Carrying the Christ Child through a Sinful World between 1450-1516. During this time period the protestant reformation was highly concentrated in the Netherlands (were Bosch was from). There was a great discontent with the Catholic Church, because many believed the clergy to be morally corrupt. Bosch seamed to use imagery dealing with the torments of hell representing the “hell” that the community was going though due to the corruption of the church.
At first glance, the painting is very dark and shadowy convening the message of a sinful world. The chiaroscuro represents that we do not live in a perfect world, there is always evil lingering in the shadows. The main light source in the painting
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Most of the figures within the painting are very unrealistic but very unique and detailed. All of the figures in the painting, person or animal, are expressed with different characteristics almost like Bosch is giving a personality to each figure. The animals are supposed to be a representation of demons. The demons are depicted with different colors and different pose. Most of the demons are holding a variety of weapons: shields, spears, bows and arrows, etc. When we follow the direction at which the animals in the water are pointing their weapons at our eyes meet with some solders hiding in a cave that looks like a man. It does not appear that human figures, aside from the three important ones, are the focus of the painting. Most of the humans, who are generally very small, appear inside caves and boats. The caves on either side of the painting seem to be a representation of good and bad. On the left side there appear to be nuns that look a lot like witches which is a representation of the corrupting of the church that was going on during this time period. The cave on the right is shaped like a humble man, his eye sight …show more content…
St. Christopher was a man who was big and strong, he was in search to serve the most powerful person on the planet. He served a king but later realized that the devil was more powerful than the king, he looked for the devil but learned that Christ was more powerful than the Devil, so he searched for Christ. On his journey he meet a hermit who thought him all about Christ. The hermit said that to find Christ he would need to spend his life praying and fasting but Christopher objected. The hermit gave him a second option, he could find another way to please Christ. Christopher decided to work at a nearby river to help people cross. The river was very dangerous and many had drowned. One day a little boy appeared asking for help to cross the river. As they were crossing the river the boy kept getting heavier and the current of the water was growing stronger; Christopher started to struggle. When they finally reached the land Christopher asked the boy for an explanation as to why he got heavier. The boy explained that he is The Christ and when St. Christopher was carrying him, he was also carrying the weight of the world. The painting even shows Christopher’s posture and expression of exhaustion; his line of sight leads toward the land and it almost looks like he is relieved of finally reaching the other side. St. Christopher was said to be a very large man, sometimes he is referred
With the number of people losing faith in Catholicism during the Protestant Reformation, the Roman Catholic Church needed to find a way to reaffirm the catholic faith in people, and because many of the people during this time were illiterate, the church needed a universal method of communication. Art, being a media that only need to be seen in order to be understood, was used to portray very direct, passionate and realistic, mostly religious scenes that could be understood by anyone regardless of literacy of social status. In order to accomplish this, Gentileschi does not paint idealized figures, like that of the earlier renaissance paintings, instead the subjects are simple, more full figured and dressed in simple garments which appealed to even the most common people. Painted with chiaroscuro adds grandeur to the piece and this coupled with foreshortening creates a sense of movement and energy which rounded out the illusion that makes the viewer feel as if they are in the very same room witness to the act.
A distinction of colors exists within the painting: there is dreary dark blue background contrasted by the intense shades of red and white worn by the figures. A specific example of this the women flanking the Virgin Mary. The woman to the right of Mary attracts the most light and is the brightest in color. The Virgin Mary herself is dark, dull, and shadowed. The woman behind Mary, similar to the other woman, is wearing red and bright. In reality, the lighting of these figures do not make logical sense. If Rosso’s mission was the depict reality than the women would be shaded evenly from light to dark. Due to the overall lack of a single swath of colors, the eye is forced to look all over the painting rather than focus on one main
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.
Up in the corner of the painting is what appears to be an angel. This angel’s line of sight travels to the stick in the arms of Saint Joseph. The stick is a diagonal line suggesting that the viewer’s eyes move to the man. Then, his line of sight is focused on baby Christ in his arms. These lines of sight contribute to pyramidal form. Battista emphasizes Christ and Saint Joseph by using high key value to make them appear brighter and more obvious up against the blue background. Most of the painting consists of the primary colors blue and yellow. It is a darker shade of blue, which helps in contrast to the bright intensity of Christ. The pop of yellow in Saint Joseph’s clothing brings the viewer’s eyes to the center of the painting as well, emphasizing the two
Seated in his fire-filled chair, the devil dominates the bottom-center of the painting. With the very dark lighting the mood towards this half of the painting is dark, gloomy, lonely, and unpleasing. Frankcen illustrates the true biblical message of hell. What is very interesting about this painting is how hell is extremely large, filled with a mass of people, and takes up about half of the painting. However, some of the people are babies. This alludes to the fact that some people are could possibly be born evil and that their fate is inevitable. A majority of the people set in hell are still looking up worshiping heaven while regretting their mistakes. The painter is trying to illustrate how many people do not make the right choices and end up miserable. The way Fans paints hell in this picture is very similar to the way Dante describes hell in this book The Inferno. Even though there are not nine layers of hell in this painting the descriptions are quite similar. The people standing in line waiting for their punishments, the dark gloomy vibe, and a mixture of young and old souls, are represented in the painting and in Dante’s story (1614-1702). Francken’s goal when interpreting hell is to not only make his viewers fear it, but come to the realization that is where a majority of people end
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The painting was made in turn of Juana personal beliefs of Christianity. The painting shows how even a priest can be temped into sin but that if you follow the ways of the church, you will be saved. Much of the painting is in light to medium colors. This would show that Juana did not like to use dark colors and preferred to have a more
One day a child asked to ride on Saint Christopher's shoulders across a river, but the child seemed to grow heavier and heavier with every step that Saint Christopher took. When the two on the opposite side of the river, the child identified himself as Christ, telling the holy man that he had just carried the weight of the world. Saint Christopher became one of the most popular patron saints for travelers in the Middle
The texture of the painting is smooth. The colors used are black and white. The black gives the picture a dark look while the white does give the art some light to balance out the black. The uses of the colors black and white do provide a feeling of despair and darkness. There are four humans and four circles connected to each circle. There are also four rectangles which each human body is in. The four figures all seem hunched over and all set up in a line. The shape of the of the bodies of each of the figures each differs. Starting from the left, the first figure is upside down with legs and arms crossed. The figure also has a button down striped shirt but no bottoms. The face of the figure you can see his eyes, nose, and facial hair. The expression on his face seems blank. The next figure is faced upright. This figure has one arm up and has more layers on top of his body compared to the first figure. This figures face you can see more, and it looks like he is concerned when you look at how his eyebrows look. The next figure, the person is faced upside down with no clothing on their body. The figure's arms are crossed which seems like they are covering the top half of their body. The facial expression of this figure is more depicted and has a desolate look on its face. The next figure is standing upright and has many swirls and lines that cover its body. The figure is pointing toward the left with its
... 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 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.
Aslan, also known as The Great Lion, is the creator and the one true king of the world of Narnia, and is a example of all that is good. The white witch was coming to take Edmund's life, but Aslan steps in and says I will be put to death to save Edmund's life. This represents Jesus because his life was taken from him to save everyone's life. The only differences in Aslan died to save Edmund and Jesus died to save everyone. The night before Aslan was killed he went to the Garden of Gethsemane to pray. The night before Jesus Christ was crucified, he also went to the Garden of Gethsemane to pray.Matthew 26:36 said, Then Jesus went with his disciples to a place called Gethsemane, and he said to them, “Sit here while I go over there and pray.” One the night that Aslan was crucified he was shaved of all his fur just like Jesus was stripped of his clothes before he was crucified. Everyone was screaming and yelling at his face when Aslan was crucified. They were making jokes and laughing at him. When Jesus was crucified the crowd was doing the same things. They were yelling and scream at his face and laughing and making jokes about him in front of his face. Aslan was stabbed by the White Witch. Jesus was crucified on the cross. In both J...
Caravaggio’s painting is unique due to its wonderful use of chiaroscuro, which is the contrast between light and dark. For example, the painting “Supper at Emmaus (1602)” illustrates Jesus and his disciples in bright colors and uses a dark tint for the background (Miller, Vandome, & McBrewster, 2010).
Although The Garden of Earthly Delights, a triptych painted by the Netherlandish master Hieronymus Bosch on the turn of the 15th century, and the Psalter map, a 1262 mappa mundi found in a collection of psalms (hence the name Psalter) may not seem to have much in common, perhaps their biggest similarity is their goal: a representation of the world, an ambition that is all the more visible in its large scope. In this analysis, I will analyse and then compare the visual elements of both works and also their purpose and context of their creation, although this will likely be to a limited extent as there is scarce information on both the Psalter map and Bosch’s triptych.
The yellow giraffe in the left panel that may have been a copy of the giraffe in Egyptian Voyage by Ciriaco de' Pizzicolli in 1440 (The Garden of Earthly Delight Wikipedia). The depiction of a burning city in the background is thought to have an allusion to Bosch’s real life experiences. This fire that is burning up the city could possibly be the great fire that destroyed the Bosch’s birth city of 's-Hertogenbosch in 1463. Similar scenes were also depicted in Bosch’s The Last Judgement, another triptych completed in 1482 (Jheronimus