Analysis Of Coronation Of The Virgin By Gengtile Da Fabriano

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 ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

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.

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 centerpiece of the piece is obviously Mary, though she is on the right side of the painting. In one hand she holds an open bible, and she holds her other hand up in prayer while she is looking down with her eyes almost completely shut. She has a halo surrounding her head as gold rays shine down on her

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.

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.

The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a

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

When I see the painting the shape is symmetric in the sense that there are the same amount of people on both sides of Jesus. The genre of this painting is Christian art.There are also four panels on both sides of the walls. In my opinion, the target audience that this painting was intended for are those who are believers of Christ. I feel this way because I think that this painting portrays the event that is talked about in the bible in the scripture Matthew 26, verse 21 where Jesus says “…"Truly I tell you, one of you will betray me.". He then continues in verse 23 saying, “The one who has dipped his hand into the bowl with me will betray me”. In the painting, you can clearly see the man two seats away from his right reaching for the bowl at the same time as Christ. This event lead to the Holy Eucharist, also known as communion or the Lord’s Supper where Christ takes the bread which was to symbolize his body and wine which was to symbolize his

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.

It was completed during 1500 and 1501. It was painted in Italy and is now currently in the National Gallery in London, United Kingdom. He used oil paint on canvas and it was the only painting that he ever signed (Levey). This painting had a main theme which was peace. The olive branches placed all through the painting were meant to symbolize peace. All of the groups of people have such happy expressions with the angles. There is many little devil-like figures crawling away from this peaceful environment. They are unable to survive in this area in which both the Christ Child and Virgin Mary brought so much peace. All of the evil has fled this environment and now peace can be reign again (Rymer, Mystical Nativity). I like this painting because he created a highly personal and sophisticated style of expressionism. Like many of his paintings, this one is distinguished by his innovatory refinements. I also like how many of his paintings are religious based. It gives you a different perspective on his take on stories. He also paints many mythological related paintings which was a combination of decorative lines and classical tradition elements. It has complete harmony with compositions and contours of his figures in each

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he

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.

In this relief, we see it as Christ the child shares the viewer his joy of starting his new adventure as well as praising the purity of Virgin Mary. There are also three angels emerging from the cloud. In the Old Testament, angel’s functions refer to convey God’s will to mankind, which in this relief the angels reminds us of their role as “annunciators (ABRAHAM, 2: The three angels). They were the ones who carried messages from god and annunciated the birth of Christ. They are the witnesses of Christ the child coming to the human world as well as proof of Virgin Mary’s virtue of immaculate. In this relief, they are the guardian of the Virgin and child as well as admirers of Mary’s pure and virgin status. With their hands holding together in prayer, they show their blessings and caring to the mother and son as well as to the human world. In addition, unlike other Virgin Mary we see in churches’ altarpieces that are usually seated on throne, we also have Mary sitting humbly on the ground in this relief. According to Dictionary of Subjects and Symbols in Art, there is a popular theme of “Madonna of Humility” which its essential figure is that the Virgin is seated on the ground. The dictionary also states that artists set Virgin Mary on the ground to convey a medieval theology,