Arnolfini Marriage by Jan Van Eyck

a) Candle - The candle could represent a symbol of hope. Rev. Parris lit the candle while he was praying next to Betty, the candle seems to be going down which could represent how Rev. Parris could have been praying all night, hoping that Betty will get better.

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.

The seven rooms in the house also conveyed stages in life ending with death. These rooms were set up from east to west. This meaning that the sun comes up in the east and goes down in the west, and death comes in the darkness. "In this chamber only, the color of the windows failed to correspond with the decorations. The panes here were scarlet--a deep blood color." The guest's avoided this room because it was a sign of death.

In the article “Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait” the author analyzes the religious and social grammars of marriage. This short paper will be a reflection of Harbison’s article that discusses religious and marital norms throughout, with also analyzing various sections of van Eyck’s piece, for example: implying the piece as a marriage document or contract of the marriage, which immediately makes the viewer look deeper into the double portrait. All of this helped me realize that pieces of art are not simply “pictures,” rather they are narratives like a scene in a documentary. The author starts the article with a clear thesis of analyzing the social religious and marital norms when this piece was made.

Document four shows the role of women to obey men, "-by meeting my father's demands and, at the same time, the needs of my husband.... I have no free time at all to spend on my books unless I work productively through the nights and sleep very little." Women didn't have the time to be educated, they were busy cleaning house and obeying men. Louis Labé's letter, document seven, showed that educated women were very scarce, for even her words could only be expressed in a private letter to a friend. It was written in the later years of the Renaissance when only very few, rich women had access to enough education to be able to write. Another assumed role during the Renaissance, the duty of bearing and raising children, is very evident in document two. The painting was done by Jan van Eyck, a Northern Renaissance artist, a large part of the art movement involved realism, or showing daily life. This particular painting depicts a pregnant woman resting her hand on her stomach, shows that child bearing was very typical in everyday life. Being a mother was a major role for women. In the painting she's also bowing her head, showing the role of women to be

Considering is analyzing. The symbols were the specification of the season. It was winter and below freezing. This symbolizes her life cycle being about over. The church was cold and freezing inside (a sign of death). Another symbol of her death was the storyline that said “as if she were an old collie turned out to die”. (Clugston, 2010) The old woman also had the color of poor gray Georgia earth. Her description of her dress she wore being black and the description of her face being dazed and sleepy, and shut now like an ancient door symbolizes her death.

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

The couple's outfits are thick and even have fur, although the painting suggests that it is spring or summer, due to the amount of sunlight entering from the window and the fresh oranges (most oranges are harvest during the spring). The furniture and the drapery is impressive, and the oranges themselves are rare and are therefore a symbol of wealth. The painting also illustrates the relationship between the two subjects through various objects. The painting suggests that the subjects are married. There is a dog in between the couple, which represents loyalty. Both characters have rings on their ring fingers, which suggests that they are both married. Also, the painting shows that both characters have removed their shoes, which implies that they are standing on holy ground, such as Moses was when speaking to god through a burning bush in the bible. The reason they are on holy ground is because a holy ceremony has taken place, that is, a wedding. Notice the characters' body language is composed of the dominant husband and the submissive wife. There is also various references to the newlywed couple's intentions of starting a family. Not only does the wife's attire exaggerate her belly, making her seem as if she were pregnant, but behind here there is a statue of Saint Margaret, the saint of childbirth and fertility. When the individual objects of this painting are viewed as a whole, the message becomes clear. Jan van

The “Giovanni Arnolfini and his Bride” (1434) by Jan van Eyck is also known as The Arnolfini Marriage, The Arnolfini Wedding among other titles. This painting is referred as one of the more complex and original paintings of the Western art due to the fact of the unusual geometric-orthogonal perspective (in contrast to the case of the Oath of the Horatii), iconography and the use of mirror for reflecting the space. It is essential to put an emphasis on the fact that the art historians consider this portrait as a unique one because it is the form of a painting, which depicts the record of a

A Comparison of Barna di Siena’s Mystic Marriage of Saint Catherine and Rogier van der Weyden’s Saint Luke Drawing the Virgin and Child

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

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.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

The man stands on dull, dark-green land. According to color-wheel-pro.com, the article “Color Wheel Pro - See Color Theory in Action” asserts that dark green is associated with ambition. Yet, according to edvardmunch.org in this painting, the man’s ambition is being suppressed because of the crimson plant which is preventing him from moving forward into the future. The crimson plant is “possibly intended as a mandrake, with its love and death symbolism”. Along with the black clothing, the plant further reinforces the idea that the girl might as well as be dead to him but at the same time he still cares for her. Assuming that the crimson on his hand and the plant is blood, the man feels like he has the blood of his lover on his hands. He feels guilty because of his part in their breakup, which is an emotion other than sorrow which is why the hand clutching his chest is brighter than his face. Looking behind the man, the brown tree is barren yet bright. According to incredibleart.org, the article “Color Symbolism and Culture” says that the color brown signifies comfort. However, since the tree is barren, the tree does not represent comfort but a lack thereof. Looking to the right of the girl, the golden path is surrounded by a dark purple shoreline and purple sky and water. According to incredibleart.org, the article “Color Symbolism and Culture” states that purple