Art Analysis Form

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.

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

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

Man has been creating art for over 30,000 years. There are cave drawings, sculptures, Egyptian art, Greek Art, Modern Art and plenty more but to many, the Renaissance Art period is considered to be most important. Never had so many geniuses in art lived at one time and never had so many pieces of cherished art been produced. Two examples of Renaissance paintings are Cigoli’s Adoration of the Shepherds and Moretto da Brescia’s Entombment. Both paintings posses the attributes that were popular during the Renaissance period which I will now contrast and compare.

The title of this artwork is Virgin and Child with the Young Saint John the Baptist and Angels. It was created by François Boucher in Paris. It was painted in the year 1765. It was painted with oil on a canvas. This painting is housed in the Metropolitan Museum in New York City, New York. In this painting, Boucher wonderfully depicts the Virgin Mary and the baby Jesus, along with a toddler Saint John the Baptist and a lamb, having a picnic together. They are being watched over by five small cherub angels up in the heavens.

The Virgin and Child was created by Barnaba da Modena in 1360, and is deemed Gothic in style. It depicts The Virgin Mary holding a Child Christ in her arms, and rests undamaged to this day in Boston's Museum of Fine Arts. In terms of formal elements, it is 39.4 inches in height and 24.8 inches in width (100 x 63 cm), a religious painting executed by means of tempera on panel. The enduring framing edges might indicate that the painting was initially planned to be the central piece of a polyptych. A first impression is that of anachronism: its opulent golden background and the intricate striation outlines on the Madonna's mantle seem to indicate a much earlier conception, mainly Byzantine in nature. However, the Byzantine herring-bone pattern is clearly endowed with a more modern linear roundness.

Also the crisp outlines of the jewel-colored shapes created by their clothing as well as the continuity of folds and gestures, creates a rhythmic pattern crisscrossing the surface showing the element of design (Stubblebine). The imagery in Madonna and Child is displayed in how the artist expresses himself, and how the artwork communicates with the viewer. The artist expresses himself in that the work is symbolic. It is symbolic in that it depicts the sacred realm and the account of Mary and the Child it also emphasized the thirteenth century devotional practice on experiencing the sacred figures as real (Stokstad 259). In addition, the work was created within a structured stylistic context of devotional images and icons, and was not created as a personal expression. The Madonna and Child painting communicates with the viewer, in that the sense of human interaction convinces the viewer that the two figures exist in real space and time (Tomkins 3) and the intimate interaction between the Child and the Madonna evokes a human response from the viewer. Duccio explored the world of sentiment and empathetic emotional response with a lyricism and sensitivity to color. Some examples of this is the tender gesture of the Child, the distant glaze of the Virgin, yet deeply moving expression, the use of drapery folds to describe the forms of the

Shepard Fairey’s piece titled Pay Up or Shut Up is a representation of the role that money or your role in society dictate the power of your speech. This piece of art by Fairey was released in May of 2015. It is a screen print on cream speckletone paper.

“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 style and the form of these two paintings reflect the development of the artistic techniques during the Italian Renaissance. While both reflect a Biblical theme with a central focal point of the Madonna and Child, “Madonna Enthroned” has a key image that is best viewed from a central position and “Madonna and Child…” has a greater degree of importance over the majority of the surface of the canvas. In “Madonna and Child…” the viewer does not perceive that an image is being forced upon them as is found in the work by Giotto. A use of light and space is also key to preventing the Puligo piece from being “forced”, where the organization of distance visibly removes the viewer from “Madonna Enthroned” while drawing the viewer into the painting in “Madonna and Child…”. Color also serves a similar purpose, where Giotto’s work is monochromatic but ocher while Puligo’s work carries a greater expression through the detail involved.

This essay will explain the biographical and iconographic approach in interpreting works of art in art history and examine the process that would need to be undertaken to apply to in which Antonio Correggio’s Madonna and Child with Infant John the Baptist 1514-15. The differences and similarities of the two approaches will investigated in terms of what aspects of the painting they examine. Both approaches also rely on the further investigation and research of additional resources to support their claims. Examples of additional sources needed in each methodology to interpret the painting will also acknowledged. Antonio Correggio’s Madonna and Child with Infant John the Baptist 1514-15 is an oil on wood panel painting produced in Italy during the Renaissance. From first glance, a viewer may understand the painting as filled with theological and biblical references taken from their practical experience and historical knowledge. The two methodologies that will be used to interpret the painting will examine in more depth the processes in which needs to be utilised to form a better and in depth understanding of the

The two works of art that I have chosen to analyze are 1) Jordan Casteel. Miles and JoJo. 2014. Oil on canvas, 54” x 72” and 2) Aaron Fowler. He Was. 2015. Mixed media, 134” x 165” x 108”. The themes that these works of art represent in regards to the exhibit are love, family, and pain. However, they also fall into other thematic categories. The main theme that seems to apply to both “Miles and JoJo” and “He Was” is Human Experience. Additionally, these arts differ in some ways.

The art under analysis is the Supper at Emmaus by Merisi Da Caravaggio. The painting is one of the many Christian arts painted by Caravaggio during the Baroque art period. Due to the significance of the every aspect of the painting, the paper is structured in a way that every part deals with one aspect of the painting. The first part deals with the historical significance and the interpretation of the painting. In the same part, the religious significance of the paintings is explored. The second part involves the interpretation of the different techniques used by the artist and their significance in the painting the Supper at Emmaus. The paper also gives insight into the artist earlier life and the different factors that influenced his paintings

It is very important to emphasize how Italian women were represented in portrait painting during the Renaissance, considering how much it changed from the early 13th century, to the 15th century. In the 13th century, the women in different portraits during the

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare