Analysis Of The Joys And Sorrows Of Mary

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 poem consists of a mixture of Christian and epic elements and has a very unique style. It represents the crucifixion as a battle and Christ as an epic hero, similar to Beowulf, which is quite different from the texts in the Bible. This contrast can be observed in the description of Jesus’ action during the crucifixion, and in the

Although the surface of the artwork has been fairly damaged by smoke from burning candles and incense, there is still a suggestion of the bright circular halos which had once ‘crowned’ both the Virgin and the child. Cooper relates the symbolism of the circle as “one which expresses archetypal wholeness and totality and therefore divinity” (1982:19). The upper body of Mary appears very large, especially in comparison with the Christ-child, whose body ‘fits’ into her bosom, which is generally associated with comfort. Almost as though she tries to console him concerning his future death (Tansey & Kleiner, 1996: 312).

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.

There is no lack of symbolism in Caravaggio’s ‘Martha and Mary Magdalene’. The painting shows the contrast between the two sisters even though they are wearing the same colors. Martha is dressed simply, while Mary is dressed elaborately and provocatively. Mary’s fancy dress is said not to be because of her prostitution, but because of her future loftier spiritual aspiration, in comparison to her sister Martha. Although the way the two are dressed are far from being the only symbols in this piece.

Their were multiple different art works that caught my attention at the museum although through the semester it was the Roman chapter that captivated my attention the most hence forth I chose this artwork. Each piece of art present in the museum deserved their own acknowledgment respectively from the gold and marble jewelry present to the large sculptures rich in detail non stood out more to myself than The Indian Triumph of Dionysus.I found this piece of art to be appealing because there are many different people and beings within this piece of work that are well known in ancient Greek and Roman mythology. The entire piece is centered on Dionysus, yet everyone plays an important role in the overall story of the piece. Also, I found it very interesting that someone took a great interest in building a monumental sarcophagus for a man who was known for introducing wine.
As Dionysus and his followers journeyed to the East to introduce wine and culture they were sometimes

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

Grace and Beauty Between 1598-1602, Domenico (Robusti) Tintoretto painted Santa Maria Maddalena Penitente or, “The Penitent Magdalene” in his family’s workshop in Venice, Italy. The Penitent Magdalene, now housed in the Musei Capitolini of Rome, Italy, is an oil on canvas painting that measures approximately forty-five inches (114.4 cm) in height by thirty-six inches (92 cm) in width. (Robusti, D.) This work depicts Mary Magdalene, a biblical figure, in an earnest prayerful and contemplative repose. Though exact documentation is hard to come by, this painting was, in all likelihood, commissioned by a wealthy patron who would value its artistic and devotional merit.

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

Just as the title suggests the journal section will mainly focus on the funeral of Junius Bassus. It will give me a clear perspective of that which was discovered about Junius Bassus, about his life and the way he lived and what was known about who he was as a human being. This background will be a good insight in my paper, since I am focusing on Junius Bassus Sarcophagus. Giving the reader a background of the dedicated owner of the Sarcophagus, will help me portray the reason behind the why the Sarcophagus was design with such intricacy and why it was filled with Christian sculpture, pretty much telling some of the story of the faith. The journal talks about the different kind of manuscripts and manuscripts that were find and goes in details

This work of art emphasized the primacy of Peter and the importance of Paul as the princes of the apostles and as Roman martyrs. Christ who hands on the Law as enthroned over Coelus is emphasized on the Bassus sarcophagus by portraying. The artist made this art in rectangle cubic shape. He has used straight lines. This work of art is deeply carved that figures shadow can be seen in the background. We can see an effect more noticeable which has more uniform and lighter color. The

Theories have surfaced throughout the years about biblical imagery in early literary works. The works of Sappho challenges biblical imagery, and the theories expressing beliefs that God had feminine characteristics. Considering her works were done way before Jesus was born. She paints imagery that makes readers connect her fragments to religion. Sappho was known for her deep lyrical poems that causes her readers to dig deep just to figure out what her works meant. Many religious people believe that there is an idea of “Christianity imagery”; the idea early works capturing biblical imagery before Christ was born. Now there is no evidence that early literary writers focused on making their works connect with the future. People like to think writers knew what was going to happen before it actually happened, but that is not the case at all. Sappho took her skills and created a masterpiece that would be viewed to this day and still cause society to question the idea of early biblical images. She really changed the literary game because scholars are still wondering if her imagery predicted Christ or if her works were a coincidence that happened to later to connect with biblical images.

The Crucifixion of Christ is a one of the most frequented religious themes seen during Gothic Italian panel paintings of the 13th and 14th century. Throughout the Strauss Collection at the Museum of Fine Arts, Houston the panel paintings often have a series of narratives alongside portraits that the viewer is able to read through the composition of the panels. One narrative that is of high importance is of The Crucifixion. Because it is so important, this scene is often arbitrarily placed in panels just to emphasize the engagement of the viewer to the importance of religion and the church. The setting of the The Crucifixion is quite the same in most if not all crucifixion paintings, with the placement of a triangular dialogue beginning with the Virgin, Christ, Saint John, and Saint Mary Magdalene. Another common characteristic in crucifixion scenes is the emotional representation of the figures pictured. Although there is an established display of facial expressions in Italian Gothic art, there seems to be more of an emotional connection in this particular type of narrative than other common religious themes. Looking at The Crucifixion scene of the Anon. Florentine Panel its counterpart, The Nativity scene does not pose the same emotional engagement in both the viewers and the characters displayed.

The story of Bassanio and the casket choice also appears to incorporate both a moral and an allegorical meaning. At the moral level, the incident explores the implications of Christian

In this particular painting, references from Catholic theology are used throughout the entire painting. The painting is a vision of one of Christ’s first disciples, St. John, an apostle of Jesus Christ. The painting revolves around the Virgin Mary, a woman free of sin who is centered in the middle of the canvas. She was the mother of Jesus Christ and was described as a woman who “assumed body and soul into heavenly glory” (Hütter 402). She is covered in a white robe with a black cloak enfolding her into an envelope in the center of the canvas. At the top of painting, you can see God symbolically “giving” Mary to the world as expressed in Catholic theology. Mary was viewed as a notable figure of Roman Catholicism and was “conceived free of original sin, the condition of sinfulness and separation from God into which all humanity is born”.