The works of art that will be compared in this paper are Giotto, Lamentation (c1304-5), and Rogier van der Weyden, Deposition (c. 1435). Although the two artists use different media and style, they share the same topic: the story of the lamentation of Christ from the Holy Bible. The story of lamentation of Christ can be summarized as following: due to the betrayal of the Judas, Christ was arrested and crucified. Both drawings illustrate the scene of the deposition of Christ. These drawings demonstrate the naturalism by using emotional effect.
Giotto was an Italian painter and architect from Florence in the late middle ages. His works of art contributes many things to the Italian Renaissance. Different from other painters at that time, Giotto moved decisively away from the flowing, unrealistic human figures in the medieval works and gave rise to the movement of naturalism. The painting Lamentation shows a great degree of naturalism, especially on the body language of each character in the painting. Rogier van der Weyden also shows a great degree of naturalism by depicting the facial...
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
By 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...
Campbell examines thirteen Venetian engravings and paintings, as well as an example of early poetry, to illustrate the grafting effect of different imagery sources within a single picture, along with poetic imagery and form used with poesia. Many examples of art that Campbell examines focuses on the nature of the works, such as the juxtaposition of “pagan opposites” in Christian subject matter, the idea of the gaze, juxtaposing two pictorial ...
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
In conclusion, through the exploration with Malraux’s lens, as one of the painting themes made in Northern Renaissance, Italian in specific, around fifteenth century, The Lamentation with Saints and a Donor portrays a common subject of art caused by Christian influence, which narrates popular biblical stories, and made intentionally as either a story of the Christ or the patron him/herself through his/her fictionalized depiction with the Christ, while, contrasting to Malraux’s excerpt, the aesthetic values are equal as one of the aims in art with the realistic development throughout
The Middle Ages, contrary to its name, was a dynamic period of innovations. Throughout this period, visual arts were employed to communicate important messages to the public as well as private wealthy patrons. A variety of mediums were used to disseminate ideas. Though, the sense of decorum shifted, the purpose of these moralizing images of religious figures remained the same. Art was, as it still is an extremely useful and powerful tool for both religious and political advancements. The two pieces to be considered in this paper were created using scenes from the life of Christ. Themes from the old and new testaments were frequently used in art of the Middle Ages to convey important messages to a largely illiterate populous, display the wealth of few individuals, and create feelings of patriotism and support for the Monarch by relating them to divinity. Both pieces are from different mediums and likely different forms of patronage. To be analyzed in this paper is an illuminated manuscript page (fig 1) and an ivory diptych (fig 2). There are several similarities, as well as differences throughout the works. I will describe each piece then continue to compare and contrast them, this will work to facilitate a greater understanding of the Middle Ages through works of art.
... the period compared to the primacy of the idealized an unattainable divine during the previous medieval period. The element of healing that Irene accomplishes for the Saint is also highlighted through the contrasting color use, the interaction of light and shadow and the compositional choices made by Giordano. Perhaps the emphasis on emotion and mood in this painting is relevant to its original position as being overhead another of Giordano’s painting, which depicts Jesus at the temple with the doctors. Just as Irene accomplishes the will of the divine through her human emotional reaction of compassion towards Saint Sebastian, the divine Jesus Christ is able to express human logic and reasoning to impress the doctors in the temple. In both cases, the increasing importance of the human aspect vis-à-vis the divine marks Giordano’s subscription to Renaissance ideals
Michelangelo de Caravaggio is one of the most renowned and popular artists of the Baroque Period. In fact, many paintings from this period, as well as after have been described as “Caravagesque.” Caravaggio’s works are some of the most popular in Italy, as well as around the world, and have been put into there own stylistic group. In his painting, the Martyrdom of St. Matthew, there contains certain characteristics that make the painting easily recognizable to a connoisseur of fine paintings. This paper will discuss some background of this artist’s life, the content of the work, some ideas that it portrays and contains, and a visual description of the painting.
This question focuses on the introduction of Russian Constructivism, the Mexican. Mural movement which was mainly affected by the ideology of Marxism. How they are different from each other, aesthetically, ideologically, conceptually. Russian Constructivism began right after the Bolshevik revolution against Russia. Empire.
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.
Rathnasambhava, the Transcendent Buddha of the South and Madonna Enthroned are very similar images that were produced by very different cultures. Both images were produced during the 13th Century. The image of Rathnasambhava, the Transcendent Buddha of the South was produced in Tibet during an interesting period of the country’s religious history. The branch of Tibetan Buddhism is led by a religious and sometimes political leader called the Dalai Lama. It was during the 13th Century during the reign of Kublai Khan, around the time of the production of this painting, that Tibet experienced the first incarnation of the Dalai Lama. One has to wonder if this painting is somehow related to that occurrence. According to one source, the reincarnation system for the Living Buddhas is the main point distinguishing Tibetan Buddhism from other forms of Buddhism.
As 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.
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
Personally, my culture did not play a big role when I was in the midst