The Betrayal of Christ Depicted in the Italian Paintings by Duccio and Giotto
analytical Essay
945 words
The development of Italian painting in the years around the 1300 or the proto-renaissance is in some sense the rebirth of art and culture. The painters of Renaissance Italy usually attached to particular courts and with loyalties to certain cities, still explored the extensive span of Italy. Many of the Italian painters grew artistically during this time, which is noticeable in Duccio’s painting compared to Giotto’s. In the renaissance period it was highly popularized to mainly draw depictions of religious figures, which is what the concentration of Duccio’s artwork mainly was. Before the painting of the Betrayal of Christ, Duccio’s paintings were highly composed and reliant upon the ancient tradition of icon painting. In the time around 1300 Duccio took steps toward depicting images in a more naturalistic form; Whereas, Giotto, in the 1300’s, was already established as painting more three-dimensional and naturalistic forms.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
In addition, to the composition of the painting, the balance is also a dynamic factor. Both Ducci...
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...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.
The paintings by Duccio and Giotto firmly set in place a benchmark for where artwork in the years around 1300 began to develop. These artworks show how paintings began to evolve into more symbolic, naturalistic, and dramatic scenes, depicting events in life and religion. The paintings of Duccio and Giotto are similar in the sense that their paintings were then, in the sense of more modern words, “special effects” of their time. They show vivid colors with meaning and symbolism, atmospheric characters that exist in space, and composition that is well thought out. Overall, these two artists become a pinnacle of art that illustrates Italian paintings in the years around 1300.
In this essay, the author
- Compares the development of italian painting in the years around the 1300 or the proto-renaissance to giotto's.
- Analyzes how duccio and giotto show their different styles on how they compose their paintings. the size of the surface they chose to paint on lets the viewer know that the artwork is embedded in detail and visual consumption.
- Analyzes how both duccio and giotto have overwhelming images; the subjects of the painting surrounding jesus imply exactly how they are depicted. the crowd painted around jesus creates an unbalanced scene and gives an overall nonsymmetrical feeling.
- Compares duccio and giotto's paintings, stating that they differ in their style.
- Compares duccio's betrayal of christ with giotto’s kiss of judas, which emphasizes the hierarchy of the subjects.
- Analyzes how duccio and giotto's paintings set in place a benchmark for where artwork in the years around 1300 began to develop.
Related
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- The Annunciation Explored through the Era of Italian Renaissanceanalytical essayThe Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.
In this essay, the author
- Analyzes how martini depicts the moment when gabriel announces to mary that she will conceive the christ-child and he shall be called jesus.
- Analyzes how angelico's depiction of the annunciation lacks resolved issues of perspective and ambiguity about the space depicted in the painting.
- Explains chilvers, i. ed., oxford dictionary of art and artists.
- Explains ferguson, g., signs & symbols in christian art, new york, ny: oxford university press.
- Describes glover, m., fra angelico's great works: annunciation (1438-45), the independent.
- Analyzes how jones, j., explains how leonardo da vinci's angels pointed the way to the future.
- Explains harris, b., and zucker, s. 2011. fra angelico’s the annunciation.
- Explains that harris, b., and zucker, s. (2011), simone martini's annunciation. smarthistory.org.
- States kleiner, f.s., gardner's art through the ages: the western perspective, volume ii, ohio, wadsworth publishing.
- Explains kuiper, k. ed. 2010, the 100 most influential painters & sculptors of the renaissance.
- States shea, r. (2004). marcia myers: twenty years paintings & works on paper.
- Explains van dijk, a., the angelic salutation in early byzantine and medieval annunciation imagery.
- Explains von rohr scaff's the virgin annunciate in italian art of the late middle ages and renaissance.
- Analyzes how simone martini's "the annunciation and the two saints" shows influence of the sienese style of painting at a time when byzantine art was very popular in the 14th century.
- Analyzes how the triangular space between mary and the angel gabriel depicts the holy spirit in a dove surrounded by seraphim of winged angels.
- Analyzes how fig. 2 lacks symbolic objects and signifiers that would generally remind the viewers of mary's purity and chastity.
2307 wordsRead More - Early Italian Renaissance Artanalytical essayThe artistic theme in which an artist depicts the Virgin Mary with Jesus Christ as a child is known as the ‘Madonna and Child’. This depiction has its roots in Early Christian art due to the iconic roles that Christ and Mary play in the Christian religion (Dunkerton 37). The ‘Madonna and Child’ has had a place in many of the early periods and traditions of art. Religious themes were able to command such a strong presence in the history of art due to their role as devotional aides in churches and other religious buildings (Dunkerton 27). Religious art was well maintained by religious orders and churches, and many patrons throughout early history were tied to the Catholic Church. In the 1400s, religious artwork continued to play a prominent role, but a revival of the Classical form also started to occur. The period known as the renaissance was marked by a desire to look back on the past and a sense of individualism. The era also brought about the use of new and classical techniques for art such as naturalism, perspective, and proportion. Nonetheless, art during this period remained diverse as several art traditions, influences, and patrons contributed to the outcome of an artist’s work. The National Gallery of Ireland possesses a few of depictions of the Virgin Mary and Child in its collection of Early Italian work. The first work I will discuss is a work by Zanobi di Jacopo Machiavelli known as ‘Virgin and Child Enthroned with Saints’, which was complete in 1470. The second work is known as, ‘The Virgin and Child Enthroned with Saints John the Baptist and Lucy’, and was completed by Marco Palmezzano in 1513 (National Gallery of Ireland: Essential Guide). While created around the same time period and within close geographical proxim...
In this essay, the author
- Explains that the 'madonna and child' has its roots in early christian art due to the iconic roles that christ and mary play in the christian religion.
- Analyzes how zanobi di jacopo machiavelli depicts the virgin mary with her iconic rich blue robe and child, jesus, on her lap.
- Analyzes how marco palmezzano's 'the virgin and child enthroned with saints john the baptist and lucy' depicts the virgin mary with her child jesus in a very classical setting.
- Explains that the two painted altarpieces, ‘the virgin and child enthroned with saints john the baptist and lucy’, were created a mere forty-three years apart and have several similarities.
- Analyzes how palmezzano utilizes a more classical approach that follows heavily from the likes of giotto and masaccio. the use of perspective, symmetry, and naturalism were features used more prominently in the work than machiavelli.
- Explains that the renaissance brought about a revival of the classical style of art in the 14th and 15th centuries.
- Analyzes brenner, carla, robyn asleson, and debra pincus' "virgin and child." italian renaissance learning resources. grove art online, 2013.
- Explains dunkerton, jill, susan foister, dillian gordon, and nicholas penny. giotto to dürer: early renaissance painting in the national gallery.
- Narrates the national gallery of ireland: essential guide, 2008.
1470 wordsRead More - Critical Analysis of Michael Baxandall's Conditions of Tradeanalytical essay...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
In this essay, the author
- Explains that fifteenth-century italian art is a "deposit" resulting from the commercial interaction between the artist and the purchaser.
- Analyzes how baxandall examines the importance of contracts, where marketing negotiations are made between an artist and their client.
- Analyzes how baxandall discusses the importance of material rather than skill in creating religious paintings. botticelli's painting created a mythological artwork that contrasted with the religious painting of the time who were typically modeled into dances.
- Explains that baxandall, michael, "conditions of trade." painting and experience in fifteenth-century italy.
- Explains that baxandall, michael, "conditions of trade." painting and experience in fifteenth-century italy.
- Analyzes how baxandall focuses his argument on the painter and client and how they play an active role in the social orders on a variety of levels.
1201 wordsRead More - Carvaggioanalytical essayThe author first introduces Caravaggio as a son of a stonemason, during this period of was one of the deepest religious fevers. The new archbishop, Carlo Borromeo, was returning for a Christian Piety due to the bubonic plague that wiped out one fifth of the Diocese that resided in Milan. During this time, the Counter-Reformation culture was very popular and figures such as Ignatius Loyola and Carlo Borromeo were very influential. Both men tried to inspire the common folk by focusing on the sacrifice of Christ by empathizing on his suffering on the cross and other stories that was central to Christianity. Carlo Borromeo believed that the visual representation of Christ must be vivid, while empathizing on his suffering and sacrifices, hoping that it will make the image grander. That is why during this time, most of the popular religious artworks emphasized on a dark, realistic, gruesome image that contrasts the delicate and light style of the Florentine craft. Caravaggio’s art style was so revolutionary that it shock most of his viewers due to its realism combined with the dynamic lighting and vivid visuals. It made many artists re-evaluate all of art’s goals and the duties of an artist. Andrew Graham-Dixon empowers Caravaggio with a sense of rich visual heritage and a desire to create a very visually stunning quality in his art – a desire that will inspire him to push the limits of his work that will deepen as time pass.
In this essay, the author
- Introduces caravaggio as a stonemason, during one of the deepest religious fevers. the counter-reformation culture was very popular and figures such as ignatius loyola and carlo borromeo were influential.
- Explains that caravaggio was an apprentice under simone peterzano for a short period of time. he found his art style in rome (1592) that emphasized on the contrast of light and dark.
- Explains that caravaggio was never a religious man, even though he was one of the main artists for the counter reformation movement.
- Analyzes how andrew graham-dixon spent decade on criminal archives and the usual repositories to find out what happened to caravaggio's during his final years.
- Analyzes how caravaggio's work was considered vulgar in the 19th and early 20th centuries, and his reputation has continued to grow over the past half-century.
- Analyzes caravaggio: a life sacred and profane by andrew graham-dixon as a documentary about the roller coaster ride that was the italian baroque painter.
- Introduces caravaggio as a stonemason, during one of the deepest religious fevers. the counter-reformation culture was very popular and figures such as ignatius loyola and carlo borromeo were influential.
- Explains that caravaggio was an apprentice under simone peterzano for a short period of time. he found his art style in rome (1592) that emphasized on the contrast of light and dark.
- Explains that caravaggio was never a religious man, even though he was one of the main artists for the counter reformation movement.
- Analyzes how andrew graham-dixon spent decade on criminal archives and the usual repositories to find out what happened to caravaggio's during his final years.
- Analyzes how caravaggio's work was considered vulgar in the 19th and early 20th centuries, and his reputation has continued to grow over the past half-century.
2008 wordsRead More - Fourteenth Century Artanalytical essayThe piece Madonna with Saints and scenes of the life of christ ,a portable altarpiece and tryptic painting series by artist Maso Di Banco one of the most gifted pupil and associate of Giotto(The Brooklyn Museum,European art).Illustrates the life of christ from the birth of christ from right the birth of christ,center the annunciation of christ,left the crucifixion and top center the resurrection of christ.This piece shows just how much christianity was valued.This art form was so significant to this period they pass the practice down.Through books like ll Libro dell'Arte c.1370-1440 with step by step instructions on this technique cennino cennini on panel painting(cothren And stokstad 544).These artist created shrines to christ as seen in the piece by Maso Di Banco.The three dimensional portable gold altarpiece with decorative relief...
In this essay, the author
- Explains how one can learn about fourteenth century art by observing and analyzing the subjects, the central and main focus of the art works at this time.
- Analyzes the madonna with saints and scenes of the life of christ, a portable altarpiece and tryptic painting series by artist maso di banco.
- Explains that this altarpiece/painting is portable, which indicates that it was intended for private devotion by a king or the wealthy.
- Analyzes how the artist illustrates christ as a baby with natural and human like qualities.
- Analyzes how maso created art works which gave participants in sacred narratives and illustration great dignity and striking humanity, making them familiar.
- Explains that christianity was at the center of life in fourteenth century europe. specific artistic conventions had to be followed when creating these pieces.
678 wordsRead More - Comparison Of Perugino And Caravaggioanalytical essayThe 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
In this essay, the author
- Compares perugino's christ delivering the keys of the kingdom to st. peter from the early renaissance to caravaggio’s conversion of st
- Analyzes how perugino's compositional triangle gives clarity, static balance, and symmetrical order to the painting.
- Analyzes how perugino paints beauty through simple geometric forms, static balance, and clear lighting. caravaggio's dramatic break from the italian renaissance yields a completely different treatment of narrative.
- Analyzes how caravaggio abandons static style and implies movement by using paint to create an image and not rigid outlines. the strong, vibrant, and emotional figures convey the opposite message of classical, passive figures.
- Analyzes caravaggio's breakthrough in art, which added great emotional effects and mystery to the art. he doesn't light paul with a clear even light like perugino would have.
- Analyzes how caravaggio creates receding space by an implied vanishing point rather than the one that perugino gives the observer.
- Analyzes how caravaggio brought new life and immediacy to the emotional aspect of painting. he abandoned the rules of renaissance artists like perugino that idealized the human and religious experience.
- Opines that perugino's art was the art of classical persuasion, but caravaggio’s was heightened by a variety of forms, recession of space, and tenebrism.
1317 wordsRead More - The Fallacy of Bellori's Views on Caravaggioanalytical essayTo conclude, at first, it may seem logical for one to hold Giovanni Bellori to be true; believing that Caravaggio truly was an innovative painter, due to his usage of realism, tenebrism and lack of linear perspective. However, these claims are simply inaccurate, as multiple artists had already performed such feats, including Northern Europeans such as Durer, and Mannerists such as Tintoretto. Therefore one must realize that Bellori’s statement cannot be an entirely valid assumption. Yet, one must not forget, that at the same time, Giovanni happens to be correct in his assumption that Caravaggio’s lack of Rubenesque vibrancy helps to liven up his imagery. All in all, though Caravaggio was quite effective in his employment of Bellori’s aforementioned “advances”, none of these prove to be unique from the artworks and styles preceding him.
In this essay, the author
- Analyzes how giovanni bellori argues that caravaggio was innovative in that he introduced realism and abandoned the conventions of preceding painters.
- Opines that caravaggio introduced the artistic quality of realism into italian baroque, as he is meticulous in the details put into the fruit basket and the boy, lacking the herculean body of renaissance and classical figures.
- Analyzes giovanni's claim that caravaggio came into a time when, and thus directly contrasted with, figures that were made according to convention and manner.
- Analyzes bellori's view that caravaggio revolutionized european art by avoiding prettiness and vanity in his color.
- Concludes that giovanni bellori's assertion that caravaggio was an innovative painter is inaccurate, as multiple artists had already performed such feats, including durer and tintoretto.
759 wordsRead More - Jean Hey’s Annunciationanalytical essayBy most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
In this essay, the author
- Analyzes how jean hey's "the annunciation" represents the transition from the trial-and-error process of the early renaissance to the technical perfection that embodied the high renaissance.
- Explains that the renaissance was characterized by the rebirth of art in conjunction with a rediscovery of philosophy, literature, science, and empirical investigation from antiquity.
- Compares hey's "the annunciation" to sandro botticelli’s “virgin and child with angel” in 1475.
- Analyzes how hey builds on the groundwork of the 15th century to create an image that realistically portrays the tremendous human emotion of fear.
- Analyzes how the high renaissance solved the puzzle of artistic balance by creating a final product where the human figures would dominate the rest of the painting.
- Analyzes how hey's "annunciation" overcame that challenge. the size of the figures is not dominating; they are players in an elaborate scene.
- Explains that jean hey was flemish, not italian, and that he produced "the annunciation" outside of italy.
- Analyzes hey's "annunciation" as a natural representative of the transition from the learning process of early renaissance to the perfect execution of high renaissance.
2188 wordsRead More - Baroque Vs Italian Baroque Artanalytical essayAs the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
In this essay, the author
- Argues that the italian baroque pieces were more detailed and captured the personality of the figure, in contrast and compare them to northern barque art.
- Explains that the baldachino is uniquely baroque in spirit, with spiraling grooves and vines to symbolize the union of the new and old testaments.
- Compares northern and italian baroque art, stating that light and dark play an important role in church architecture in stained glass.
- Analyzes how judith leyster uses tenebrism to create spatial depth and volumetric forms through slight scale of light and dark by creating a small drama of considerable tension and opposition.
- Compares northern and italian baroque art by painting a self-portrait of the artist, artemisia gentileschi.
- Compares northern and italian baroque art by using self-portraits and the famous feature of light and dark.
- Analyzes how bernini's sculpture of david captures his youthful lack of heroism, his embarrassment and powerlessness except when aided by god.
1519 wordsRead More - Conditions of Trade, by Michael Baxandallanalytical essayIn the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
In this essay, the author
- Analyzes how michael baxandall explains the interaction serving of both fifteenth-century italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early renaissance painting
- Analyzes michael baxandall's argument that a painting in the fifteenth-century italy resulted in an art practice of groundwork in-depth analysis of the painting.
- Analyzes how baxandall focuses his argument on the painter and patrons of how visual art is socially constructed, and how it plays an active role in social orders.
- Analyzes how baxandall conveys the simple and direct sentences with a voice of language that is objective and reversed.
- Analyzes baxandall's argument in "conditions of trade" that he discuses many works of art done by different artists that produce religious paintings.
1048 wordsRead More