Analysis Of Lucca Madonna

Throughout the novel of “The Madonnas of Echo Park” by Brando Skyhorse, the usage of connecting various characters different lifestyles conveys the message of how in the real world everybody's actions would have some sort of impact with themselves, an individual, community, etc. Despite there being various characters in the novel that I could connect my life experience with, the two characters that stood out the most was Hector and Felicia. Reason being both characters reminded a lot of my parents who came to the United States and a lot of similarity to the characteristics of Hector and Felicia.

The flowers face many angles and are all different, most have contrasting shades of green leaves surrounding the petals and varying stem widths and lengths. This creates interest throughout the painting. To complement the bright yellow flower petals, Van Gogh has detailed a baby blue background with small, vertical and horizontal brush strokes. This contrasts well with the yellow flowers and helps to separate them from the yellow foreground. Also, to break all the yellow sections, he has cleverly used a lighted yellow tint on the bottom half of the vase, rather than shades, which he has used to outline the petals of the flowers. In doing this and by also adding light to the front petals and vase, Van Gogh has added a third dimension to his painting. Like Olley, Van Gogh has painted this artwork in warm colours to create a joyful and uplifting artwork to look at.

To fit the theme of a summer setting, along with the annunciation being very holy and happy, the scene is very bright with light and uses some bold bright colors. Both Mary’s bed and God’s outfit are a strong solid red. Bright greens and blues are used on the land and sky outside. The archangel is dressed in a white robe with a red and gold cloak. A strong contrast in colors is used to bring more attention to Mary, as her face is a very light white, while her gown is a very dark green. Overall, while used to grab your attention, the colors do seem very natural to what the scene would like, as perceived in the artist’s time period. The lighting, whoever, seems to be from an unnatural source. It

This painting was created by the artist Parmigianino in 1534–1535 during the Renaissance & Mannerism time period in Florence, Italy. The painting is oil on wood. The painting portrays the Virgin Mary placed on a high pedestal in extravagant robes, holding a very large baby Jesus on her lap. Next to her are a few angels showing interest in the baby Jesus. In the lower right-hand corner of the painting shows the emaciated figure of St. Jerome. A representation of St. Jerome was required by the administrator because of the saint's relation with the adoration of the Virgin Mary. The Madonna with the Long Neck is a portrayal of the Virgin Mary who seems to be very disproportioned.

Throughout the Gothic and Renaissance period, there were many other famous painters and sculptors that have created Madonna images. For example, Giotto’s 1300 work, “Madonna Enthroned” has many similarities to Vanni’s work. The use of the golden colored background is used to draw the viewer’s attention and bring a sense of religion, such as seen in Vanni’s work. The composition is also similar to Vanni’s work in the sense that the main, and most important figures are the largest and most prominent and the perspective is linear.

Prior to Raphael’s The Alba Madonna, there had been numerous paintings of the Virgin Mary and Baby Jesus. What was unique about this one was the fact that a very young John the Baptist was included. In his painting, Raphael has John the Baptist holding a cross and the Baby Jesus grasping it. All three subjects in the painting are gazing at the cross. Church teachings state that Jesus had an understanding of his fate at a very young age. This painting signifies that understanding. Baby Jesus is accepting his future fate of suffering and dying on the cross. His mother Mary and cousin John are also accepting of his fate. Raphael has captured

The Italian and Northern Renaissances’ happened about the same time in the 15th century but the Italian Renaissance is the more famous of the two. The Italian Renaissance is well known because of artists’ like Michelangelo while the Northern Renaissance is well known because of artists like Jan Van Eyck. Although there are many differences in the two renaissances’ there are also a few similarities between them. Both of the Renaissances had distinct artists’ hubs or centers. The Italian’s was in Florence and the Northern Renaissance was in Flanders, Belgium and then eventually Germany.

Throughout the Renaissance, many talented artists tried to express deep symbolism in their paintings, but no one came close to the ability of Jan Van Eyck. His paintings were so accurate and realistic that it was necessary for him to paint his miniaturists with a single strand of hair, on a brush. Jan's Arnolfini Wedding Portrait (1434) is so photo-realistic that it has been debated for decades of it's legality of a wedding document. This paper will help to understand Jan's extreme use of symbolisms and the multiple meanings of his Arnolfini wedding scene.

Jan van Eyck is one of well-known artists of the Northern Renaissance. To many, the Renaissance happened in Italy and not in countries like Belgium. Without this knowledge, Jan van Eyck would just be seen as a footnote in the study of humanities. Jan van Eyck can be seen as revolutionary in his work. Unlike other artists, Jan van Eyck played with light and the small details that can be appreciated by many designers in modern day.

and the way it is perceived. She knew that the body needed to be sold

The Northern Renaissance began in the fifthteenth century, catalyzed by the end of the Bubonic Plague, a commercial revolution which brought economic prosperity, and the ideas brought by Italian artists fleeing from French invaders. Northern Europeans quickly accepted Italian art, who combined their traditions with Italian concepts to celebrate realistic portrayals in their paintings. The surge of creativity in Flanders, the hub of the Northern Renaissance, at the time embodied the spirit of the Renaissance, which celebrated inventiveness, as well as exploring new ideas. Jan Van Eyck, a Flemish painter born in the late fourteenth century, lived at the beginning of the Northern Renaissance, in which he created many famous paintings such as the Ghent Altarpiece, The Arnolfini Portrait, and The Madonna of Chancellor Rolin. Jan Van Eyck’s training in Flanders allowed the painter to procure important court positions, in which he embodied the creative spirit of the Renaissance by mastering the techniques of realism and intense detail within his painting The Madonna of Chancellor Rolin, and the Eyckian technique of oil painting influenced many other painters of the time as well as modern artists.

     During the Italian Renaissance Raphael was one of the most influential artists. He painted many brilliant pieces, mastering the use of depth, perspective, and the use of shadow and light. Throughout his life, Raphael used the Madonna as a reoccurring subject in his work. One example of this subject is the Madonna of the Candelabra. This dark shadowy portrayal exemplifies the pure and humanistic ideals of the Madonna that made Raphael’s versions so well known and loved throughout the ages. The timeless beauty and grace that he captured and the realistic qualities of his work are

By comparison to the identified paintings of Raphael, discrepancies can be spotted from both clothing of Virgin Mary

Masterpieces in art was traditionally known as a work done with extraordinary skill; especially a supreme intellectual or artistic achievement. The works of Giotto in the Arena chapel are classified as masterpieces because, these pieces signal the time of Giotto establishing his own style that would then spread throughout Italy. Many of his contemporaries recognized his talent, “Renaissance artists and writers insisted that Giotto was their true artistic ancestor. At few other moments in the history of painting has a single artists work led to so rapid, widespread and a complete change” (Hart, Wilkins 73). The works of Masaccio and Van Eyck have been met with similar praise; they both introduced novel techniques in composition to achieve realism.

Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.