A Detailed Art Analysis Of The Oil On Canvass Painting, Light Of The Incarnation ( Lux Incarnationis )

As the viewer’s gaze lingers on this central image, his/her eyes reluctantly and painfully follow the path of the crimson red blood that spurts out of Christ’s body and so naturally trickles down his arms into a pool at the base of the cross. The red bole that seeps through the cracked gold background seems to intensify this action. The pale grayish hue of Christ’s tortured skin morbidly conveys his lifelessness.

Paolo de Matteis’s esteemed work The Adoration of the Shepherds is a large painting, depicting a classic Christian Nativity scene, that is displayed in the Dallas Museum of Art. In the piece, a dozen or so individuals surround the newborn Christ and his parents, gazing at him in admiration and paying him homage while animals look serenely on and angels assemble around the heads of the Holy Family. The artist employs several classic artistic elements in his painting, such as line, light, color, and shape, to draw the viewer’s focus directly to his intended point of emphasis, the infant Jesus.

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

The subject matter of this piece is the Virgin Mary, the baby Jesus, the young Saint John the Baptist and the angels who are up in the clouds. The Virgin Mary is looking at baby Jesus with the love of a mother. We see her dressed in a long white dress and a long blue robe for cover. We see the baby Jesus wrapped in warm blankets seeming to be enjoying the closeness of his mother. We see the young Saint John the Baptist sitting off to the right wearing a sheepskin, with his hands together, most likely praying to the baby Jesus and the Lord himself. The young Saint John the Baptist is also followed by a young lamb. The angels are watching over the group on earth but enjoying each other’s company as well. We see the angel on the far right kissing the angel to the left of them on the head. The two angels to the far

Sermons on Christmas morning focus on the birth of a baby wrapped in swaddling cloth laid in a manger in ancient Bethlehem, such sermons proclaim the wonders of the Nativity. However, such sermons do more than just communicate the joy of our Savior’s birth, for this celebration, as exemplified in St. John Chrysostom’s homily, is an ideal setting to address the question of “who is Christ”. There are many themes and topics in Chrysostom’s Christmas morning sermon and through his speaking of Jesus Christ’s birth, the Incarnation, he addresses heresies, enumerates Christian doctrine, and announces various elements of Christology.

In this paper, we will focus on examining Vincent’s painting, Starry Night. The paper will begin with a short introduction about Vincent where an analysis will be conducted to explore more into the painting. Subsequently, the paper

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

The foundation of the Christian faith is cradled within truth of the virgin birth, life, and resurrection of Jesus Christ. As diverse as the world-wide Christian culture is, the truth in the birth and life of Jesus stands without border and language limitations. Just as each individual life story can be adapted to be relevant for a variety of audiences, the birth story of the Messiah was also. The Gospels of Matthew and Luke are an example of the well-rounded and diverse narration of the birth story of Jesus—Matthew’s narration spoke to the history of the Jewish people and Luke presented to the citizen of Rome.

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

Essenhigh’s paintings from the early two thousand have such careful rendering and bright colors that they can easily be mistaken as a digital art piece. This is because the characters and forms are colored with flat vibrant colors and light contour lines. Despite this the scenes she creates are still full of life and resembling

G. Dunn proposes a “new perspective on the Jesus tradition” that reaches beyond the broader Christian history to “the earliest community” to pass on a Jesus tradition. His views are more optimistic than many of his predecessors or contemporaries. Dunn sees in the tradition preserved within the gospels a “concern to remember Jesus” as a real person in history and believes that “the Gospel traditions provide a clear portrayal of the remembered Jesus since they still display with sufficient clarity for present purposes the impact which Jesus made on his first followers. Though Dunn is careful not to claim that the Synoptic tradition leads back to the very words and deeds of Jesus, he boldly maintains that it does offer access to the earliest impressions made by Jesus on his first followers and thus to significantly firmer grounds for historical Jesus study than previously imagined. For if one has access to a clear impression left on a mold, the object that made the impression might reasonably be discerned and studied according to its direct impact on the mold. Dunn himself may not have intended it, but he has paved a way into answering theological questions concerning the historical

Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own

Alberti makes it clear that he is not concerned with painting’s origins, even though he briefly discusses them. Subsequently, the author uses old writings as reference to strengthen his point of view on how highly painting is esteemed above other “crafts” history. It is therefore clear that the author believes painting to be somewhat in metaphysical nature, something beyond the ordinary.

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this