Analysis Of Roman De La Rose

This painting is a portrait of an old woman who is sitting on a chair while facing to the left. She is wearing a yellow flower dress with a beige jacket while sitting in an empty room. Her beauty is illustrated by her curly, gray hair and also her wrinkled face, neck, and hands. These details is what makes her look real and pure. I like how detailed it is because it reminds me of my grandmothers.

1510, right in the middle of the Renaissance. The painting is rectangular in shape and

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

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 medium of the painting was Tempera on wood and this was common practice use of painting during the early part of the Renaissance. The painting itself tells a story. It shows three miracles that saint Zenobius performed. In the first scene, we are shown Zenobius beside what is believed to be a funeral procession for a young boy. In the painting itself, it is

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.

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

It can be noted that Christina’s life is related to the farm due to the environment and background. The triangle created by the path and the diagonal in her body shows that the house is of significance, reflecting on the Christina’s reflection on her home. This painting was made during 1948. Moreover, this was shortly after World

The painting is a self-portrait of the fictional character Dorian gray. The painting was used in the film where the character had asked a portrait of him as a handsome man. Dorian gray trades in his soul for him to remain forever young and handsome. Gray lives a life where he does things that are morally corrupt. Gray continues not to age but the painting starts to change showing grays moral corruption. In the center of the piece you are drawn to the figure of Dorian gray. The figure shows aging and marks of damage in his face. The main figure is wearing a wardrobe that shows his class and wealth. The clothes however also have tear and fading colors that show aging effect in contrast to Gray. In the background a mixture of fading colors is seen. The red rug at the bottom is shown ruffled and not perfectly set in the ground. At the bottom of the painting and below the rug there is a hand that is shown reaching out. The hand is placed to say that there are bodies swept under the rug that show his corruption and sins. One of the most interesting background pieces is the statue of the cat. During the Renaissance dogs were used to mean loyalty. The cat in the background is used to mean the opposite of that and speak of grays values. Another contrast compared to the Renaissance is that the cat is a statue and not a

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

“The Grafin von Scholfeld with her Daughter” is oil on canvas art piece painted in 1793. It is a painting of a woman holding her daughter on her lap, the

The images in the codex provide a measure of the diversity of poems in the Carmina Burana. Figure 2 depicts the famous forest that is most commonly associated with the manuscript. The wonderfully detailed painting