Abraham's Sacrifice Of Isaac

At the crest of the Church of the Gesù in Rome, an aureate burst attracts an equivalent infinity of attention to the infinity of light that it emits. Borne of Italian baroque painter Giovanni Battista “Baciccio” Gaulli, this aureate burst is the center of the illusionistic ceiling fresco Triumph of the Name of Jesus. It is initially unclear what is being beheld, but it demands attention nonetheless. By simultaneously depicting and inciting the spectacle of this aureate burst, Gaulli arouses a discussion of the nature of visual representation and the fundamental role of a viewer. Gaulli asserts his position as an artist and emphasizes the viewer’s duty to an image—and to an artist—by demanding the viewer to include themselves among the enamored

The life of Abraham is one of varied geographical places as Abraham moves from place to place as well as an expedition through life's ups and downs with its challenges and disappointment. Abraham's spiritual life is also a journey, as he moves from periods of great faith to those moments of weakness and sin. Ultimately we find that Abraham, this man of faith, learned to trust in God as he traveled, not only from his home in Ur but as he journeyed towards faith.

Giotto di Bondonne created “Lamentation” circa 1305. This piece depicts Jesus Christ removed from the cross as Mary the Virgin embraces Him. There are two figures in the foreground with their backs facing the audience. Dawning a new style of artwork creating a sense of depth. John the Baptist is seen flailing his arms backwards. Body gestures were stiff and stern in comparison to previous works. Bondonne is an early artist in “the revival of the visual arts” by painting a scene to suggest a story (Richards). For example, angels are captured flying in the distance watching the people care for the deceased Jesus Christ. They grieve in unison with the crowd down below. Bondonne successfully creates a feeling of three dimensions by including a cluster of people on the far left tucked away in the corner. The mass of people gathered around to offer praise for His ultimate sacrifice.

Christian artwork is used to represent and symbolise the Gospel and important figures. Not all individuals could read and write, therefore images were very important in delivering messages and teachings. One artwork chosen is “Annunciation” by John Collier created in 2003. This modern artwork shows Gabriel asking Mary if she would become the mother of Jesus. The other one is the “Holy Night Nativity Scene” by Antonio Correggio created in 1530, which focuses on and sets the scene of Jesus’ birth.

It all began in the covenant with Abraham, God promised many things to him. God promised numerous descendants, land, and a relationship with him. God’s first blessing would provide Abraham with numerous descendants, which in turn would become a great nation. His second blessing would provide him and his family with a place to call home. His third blessing states that Abraham will have a relationship with God. This means that, anyone who blesses Abraham will be blessed by God, anyone that curses him will be cursed. In return for all of these promises, Abraham and all of his male members and descendants were circumcised to let God know that they belong to him.

However, the desert scene and mountains suggest that this was painted in Southern California. In the background, one can see a man leading a pack animal, a woman, and an infant along a road towards the church, identified by the cross on the rooftop. There are no shadows to define form in the background. This is, again, a contrast to the shadows made by the Madonna in the foreground. The lack of shadows, however, does not make the background look flat. The Impressionist styled painting and the lack of detail in the background creates a distant look that gives depth to the painting. The numerous contrasts between the background and the foreground allows the artist to subtly draw the viewer?fs attention towards the foreground. These contrasts help grab the viewer?fs gaze and direct it to the most important part of the painting: the woman and baby.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The painting chosen to examine is The Garden of Eden by Francesco Solimena. This painting was created between 1725-30. The medium of the painting is oil on canvas. The scale, although not specified, appears to be about a couple feet high and a couple feet long. The general subject matter is Adam and Eve in the garden of Eden. It seems to be before they have discovered the forbidden fruit. The figures seem to be embracing everything the garden has to offer, they seem content and comfortable in their own skin. In most paintings, Adam and Eve are covered up after eating the forbidden fruit, for they are shamed. The fact that they are shown in the nude most likely suggests that they still have their innocence. An important thing to note about

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

Abraham’s seriousness and dedication in regards to his covenant with God control tense actions and events between Abraham and Isaac. Abraham is compelled in his actions by his understanding and faith that his belief in God will reap benefits. Without hesitation, he considers doing everything that God tells him to do. Abraham’s willingness and sacrifice of Isaac show the great power that God has over Abraham. Abraham’s desire for God’s approval and blessings compel him toward grave actions without the concrete command from God. Abraham merely implies God’s intentions from the limited conversations held between Abraham, God, and the angel.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

Throughout the history of the world, God has been working to bring humanity back to him. Due to the loss of constant communion in the fall, God set forth multiple promises to eventually establish his eternal Kingdom, the New Testament, is the culmination of these promises. The Gospels are the most specific in how Jesus Christ fulfilled the covenants God made with Abraham and David. More importantly he is the fulfillment of the new covenant, which washes away sin and brings humanity back into communion with God. What is modeled in the Gospels is reaffirmed in Acts, by the way the church is to function according to the culmination of the Covenants. Acts begins to reveal the great mystery that is the inclusion of the Gentiles in God’s covenant. Paul’s Epistles take the culmination a step further and defend the idea that the fulfillment of God’s covenants does not just affect the people of Israel, but the Gentiles as well. The General epistles teach that the people are no longer bound by the mosaic covenant since the New Covenant was fulfilled via Jesus Christ. Yet practice of the law is still an important factor of the Christian life style even if superseded by the New Covenant. Revelation shows that covenants are leading up to the lord’s victory and salvation of his people. The sins of the Jews and Gentiles are washed away by Jesus the blood of the lamb so in reality the battle is already won because of the New Covenants fulfillment in Jesus. It is clear from

Andrea Mantenga/ Martin Garza Date: 1480/ February 2017 Period/Style: Renaissance Medium: (Tempera on Canvas)/ Watercolor and ink/pen Measurement: 27in x 32in I admired Mantenga focus to display Christ emotion which he imprinted on his face and his mother. It makes you realized that Christ was just as human as us but he was here to sacrifice his life and to let everyone know that he died for their sins. The painting is so peaceful but so enticing to human mind. It makes you realized that Christ loved everyone no matter what sin you committed.

     Abraham stands as one of the most important figures in the Hebrew Bible, and is central to the understanding of God’s solution to the problem of mankind. Man, the mysterious creature that God wraught as a semi-experiment, is constantly prone to believe he is self-sufficient and capable of survival without God, the central problem God must deal with in the Hebrew Bible. To solve this problem, God decides to strike fear in the heart of man and to revolutionise his lifestyle by creating laws and empowering a chosen group of people, who will spread the word of God by example. These people are the Hebrews, and Abraham is the father of their race, the man from whom all

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