Adoration Of The Magi Essay

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

From my trip to the art museum the piece which stood out the most to me throughout the entire experience was David Ghirlandaio’s Altarpiece showing the Virgin and Child, with Saints Apollonia and Sebastian. The work of art specifically depicts an example of a sacra conversazione such as the ones we have looked at in class. This piece was made specifically in the 1490’s or the Early Renaissance time period and directly came from Florence, Italy where it was commissioned by the church as an altarpiece. Ghirlandaio specifically used tempera and gold on panel for this painting which he made in his family enterprise. Overall, the painting is roughly five and a half feet in length and height and is an excellent example of the type of works one would expect to see out of the Early Renaissance time frame.

The work presented is St. Lucy Altarpiece, painted by Domenico Veneziano. It was created in Florence ca. 1445-47 A.D. This composition of tempera on a roughly 6 x 7 foot wood panel displays a horizontal scene of Madonna and Child with attending saints and bishops. Designed as an altarpiece, with the intentions of its being displayed before the public, St. Lucy Altarpiece stresses the importance of it’s main characters; Madonna and Child. Veneziano stresses his motives of bringing attention towards Madonna and Child by using physical light and darkness, space, perspective, and even the subjects within the painting to communicate their importance.

The art that impressed me in the Getty Center is “Holy Family with Saints Anne, Catherine of Alexandria and Mary Magdalene” by Nosadella (Giovanni Francesco Bezzi).When I entered the room of this art, this is the first artwork attracted towards itself, probably the reason I went to Venetian art with big expectation of it will be beautiful among all Italian ones. The vibrant colors and contorted poses make this painting more vivacious. The sitting figures are from left is Virgin Mary holds infant Christ, Catherine of Alexandria and Mary Magdalene. The standing figures are Saint Anne and Joseph. On the right upper corner, two unknown baby angels are enjoying the scene of adoration below. All the characters are drawn like a pyramidal shape on left to give space so that angels can fly in the upper right in a distance from the main scene. The painting has mostly made of basic colors such as blue, yellow and red and those are plain colors. It doesn’t have much elaborate work on trying different colors or trying fine textile work, but giving different shades of same color adds more look. This painting great for distant admiration .Since the painting is oil on panel, applying paints on different layers is possible until getting the desired color. This painting technique gives artist more flexibility unlike fresco, which has time limit to apply paint and hard to correct the mistakes. The next attractive feature of this painting is body movements. The artist has

Giotto’s Lamentation was painted in 1305 during the commencement of the Early Renaissance. In the Early Renaissance, we witness a shift away from medieval times. The Early Renaissance brings about huge economic prosperity and social shifts

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

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.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

The 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.

Since I like plays, the enthusiastic force of Michelangelo Merisi da Caravaggio dramatic way to deal with holy account is generally engaging. This is found in his portray of The Conversion of St. Paul (Fig. 23-12). Educated in northern Italian Renaissance conventions on line and structures Caravaggio with accentuation on the treatment of light and shade in drawing and painting called "chiaroscuro," and in addition in Venetian shading and without fringes, past the center plane called "sfumato". Caravaggio's topic impact in wording is foreboding and naturalism. His Conversion of St. Paul is engaging in light of the fact that it is a religious "road theater," painting. The worth type of the depiction has a vast range of darkness, and the figures

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

The Journey of the Magi by TS Elliot centres around one of the three Wise Men who travelled to Bethlehem shortly after his birth bringing him gifts of Gold, Frankincense and Myrrh.