This oil on canvass depicts the moment when Christ, a divine spirit embodied in flesh, was born in Bethlehem. The painting is filled with all living things rejoicing as radiant beams of clean white light bounce from the birth and back to the heavens above. The painting is full of opalescent colors that bring a sense of calm. As you are drawn in your eyes reach the elegant curvature of the angel’s
His painting started smaller but got bigger when moving in the altar directions, so then they would be more and more expressive and grateful. The most important parts of all the painting are the “Creation of Adam and the Fall of Adam and Eve/Expulsion from the
The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.
The contrast of the loose application of paint in the background to a more rigid foreground helps carry this illusion in the composition. The strategic arrangement of the figures also contributes to the breakdown of the social order. The fair-skinned woman is clearly placed in front; she occupies a larger space than her servant who’s placed behind her. This deliberate placement of figures substantiates the idea of racial hierarchy. We see a plate of inscription on the lower left corner of the painting that is elucidating the scene. There are several letters positioned near certain objects throughout the composition. The content of these objects are explained in text, which also supports the idea that the artist wishes the viewer to grasp a certain meaning from the work. These annotations aid the artist’s manifestation of the New World and an idealized social
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.
The bible, in particular the Old Testament, is full of instances of animal and human sacrifice. Initially, Israel was not united, and became united in their purpose to worship Yahweh, who is the lord that resides in the mountains. Worship involved the presentation of a number sacrifices. In the old testaments, there is mention of five different forms of offerings, the meat offering, a burnt offering, a peace offering, a guilt offering and the sin offering. Presenting sacrifice to God was considered to be an act of generous hospitality. But the question is, was Yahweh appeased by the sacrifices, or he actually detested it and only used it as test of faith?
In contrast to the noble figure of Augustus, the piece titled “The Good Shepard” (300-350 AD. Marble. Height: 39 inches) which resides as a wall painting in the Catacomb of Calixtus, is an early symbolic representation of Christ as a Shepard (Mueso, Rome Web 2014). Symbolic images like these were common for the period of Early Christian art. It compares nicley to the Greco-Roman sculpture ( 3rd Century b.c.e) piece of the same name. A similar depiction can also be found at Dura Europas(Ceiling piece, fresco painting-seen in image below), in an ancient Christian meeting house (Klein Fred S. pg 210). Christ the Good Shepherd of the Twenty-third Psalm was often depicted as a beardless youth derived from the pagan god Apollo and with other ties to many Mediterranean mythologies. It is significant to note that the style of this painting with its loose impressionistic style and suggestion of a landscape echoes a category of ancient painting called sacral-idyllic landscapes.
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.
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 landscape and gestures are symmetrical and balanced such as their feet, hands, and facial expressions are all equally proportioned. Throughout this composition there are geometrical shapes which are recognizable such as circles, ovals, and rectangles which are all natural forms. The utilities used to create this work of art have more benefits than drawbacks. Canvases and oil paints are easier to depict mythical and heroic figures effectively because the paint can be applied thick which makes blending of colours easier to achieve. The linseed or walnut oil dries very slowly thus making it simple to revise the image. In addition, canvases are light and retain a glossy surface. The only challenge is to keep the brush strokes to a minimum, but the trace of an artist’s brush stroke like the one in this painting accentuated movement and naturalism.
Abraham stands as one of the most important figures in the Hebrew Bible, and is central to the understanding of God&#8217;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
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
The vanishing point of this piece is not arbitrary and it becomes evident that Masaccio’s placement of the vanishing point suggests his intention for the viewer to see the greatness of the divine in comparison to the tiny specs of man’s existence. Because the vanishing point is placed beneath the cross, the spectator’s vision is directed toward the center of the masonry altar, which indicates that man must raise his head in order to pay respect to God, further signifying Gods importance in comparison to man. The Trinity appears very out of reach from the perspectives viewpoint. Masaccio’s manipulation of perspective places the viewer furthest from the divine Trinity and closest to the skeleton, which suggests that man’s mortality is not to be seen as equal to God’s divinity. This demonstrates the hierarchical relationship in which man is constantly looks up to Christ for salvation and piety in order to somehow overcome death and fear of it.
The composition is built on the simple geometry of a pyramid, common among Renaissance artworks. The viewer’s attention is drawn immediately to Christ not only because He is located in the center, but the empty spaces surrounding him also serve as an emphasis. In addition, it gives off a sense of loneliness and isolation, knowing He is about to be betrayed. The twelve apostles are separated into four groups of three, with Christ as the central axis. Leonardo Da Vinci maintained the balance and symmetry within the space of the pyramid, dividing the four groups of apostles equally on both sides. The linear placement of the groups of apostles provides a balance and prevents overemphasis and attention on the center.
John the Baptist is also allowed to stand near the holy mother and child, and an angel is present. Because of this, the viewer contends with a literal story rather than a simple image as in “Madonna Enthroned”. Also in Puligo’s image, where the central figures are larger and better seen, there are religious symbols used. The same might be true in Giotto’s work but the details are harder to distinguish.