Analysis Of Thomas F. Mathews ' The Mistake Of The Emperor Mystique

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

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

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.

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

Tiberius, who served as emperor from 14 to 37 AD, began his rule after the death of his father-in-law, Augustus. Tiberius was a weak ruler, and he understood that ruling Rome was like “holding a wolf by the ears.” When conflict arose in Europe, Tiberius sent his nephew, Germanicus, to deal with it. Germanicus did his job, and this resulted in Tiberius fearing the newest war-hero. To avoid the issue, Germanicus was appointed governor of the remote eastern provinces by his uncle. After the sudden death of Germanicus, people believed that Tiberius had poisoned him. He denied this, but the accusations never died. When he was in need of advice, Tiberius sought the assistance of Sejanus, a cavalry officer and town cheat. Tiberius sought the

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

When examining and comparing The Equestrian Statue of Marcus Aurelius and Justinian as world conqueror it is important to examine the iconography and visual motifs of both pieces before comparing and contrasting them. The Equestrian Statue of Marcus is an example of a Imperial Roman made from gilded bronze, and Justinian as world conqueror is a panned from the Barberini ivory which is a diptych from the Byzantine Empire

The reason for this reflection is to review what has happened in a deeper level than just summarizing what has happened over the course of this project. During the weeks learned some things, not just from the book that I was reading, but also from participating in a group. The lessons I learned led to my group being successful in the few goals that were created. All of the goals were met in different ways whether it would be just finishing the book or us getting up in front of the whole class to present the google slides that we created.

Dura-Europos was the start of Christianity in Syria. Believers had a place to believe and be safe with what they practiced. There were many ways how the Christians displayed their love for God. In the article it states “the art in the murals and mosaics in Dura-Europos make clear that early Christians were not iconoclastic.” They believed that art was a way to honor the saints and God. The art that was displayed in the church could be seeing as honoring God and also telling a story to the people who couldn’t read. The Roman’s had the same idea, honoring God with art forms, and also telling a story to the public with the art and sculpture. Sometimes scaring people who couldn’t read by using visual sculptors to show them what would happen if they didn’t obey

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.

In contrast to the noble figure of Augustus, the piece titled “The Good Shepard” (300-350 AD. Marble. Height: 39 inches) which resides as a wall painting in the Catacomb of Calixtus, is an early symbolic representation of Christ as a Shepard (Mueso, Rome Web 2014). Symbolic images like these were common for the period of Early Christian art. It compares nicley to the Greco-Roman sculpture ( 3rd Century b.c.e) piece of the same name. A similar depiction can also be found at Dura Europas(Ceiling piece, fresco painting-seen in image below), in an ancient Christian meeting house (Klein Fred S. pg 210). Christ the Good Shepherd of the Twenty-third Psalm was often depicted as a beardless youth derived from the pagan god Apollo and with other ties to many Mediterranean mythologies. It is significant to note that the style of this painting with its loose impressionistic style and suggestion of a landscape echoes a category of ancient painting called sacral-idyllic landscapes.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

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.

“The Last Emperor” was a very interesting film, rich in historical truth and an accurate portrayal of past events that occurred in China during the 1900s. The story was very easy to follow and gave a more modernized approach to teaching the impacts of historical proceedings by using the English language but not forgetting to keep the facts in order. This approach gave me the opportunity to see the different actors as if it were truly identical to what this time period was all about. Given that the plot was centralized around Puyi, the last Emperor of China, and the director did an excellent job making the movie fit the timeline.