Art Analysis: The Crucifixion By Matthias Grunewald

Throughout much of Modernism many artists were influenced and informed by the work of exotic regions throughout the world, more specifically Africa. African Art would influence much of the Modern Movements from the latter part of the Nineteenth and the beginning of the Twentieth Centuries. Much is said of the artists within the Harlem Renaissance, and how it directly reflects the influence of Africana upon their art. Often times, this work is neglected to be considered Modern if not in specialized selections of course throughout many of today's higher institutions of learning. However, thus being said, Aaron Douglas, often considered the pioneer of African American Modern Art, would bring this notion to the

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

I gave an in depth analysis into the painting in many aspects from color to space. This concurred with my thesis of Christ expressing peace and tranquility and providing the differences between his figure and the others surrounding him. I also provided academic quotes to support my thesis. This painting is important to humanity because it gives us insight into what was important to Bosch and the people living in Netherland at the time. Religion greatly influenced the artist whereas in this day and age, religion is usually not prominent in

In terms of subject matter, both works are visual depictions of the crucifixion of Jesus Christ. In each painting, Christ is the central figure, surrounded by two groups of figures. On the left, a group of women that includes the Virgin Mary mourns over the dead body of Christ, while on the right is a group of soldiers and other lamenters. Both works feature a rocky landscape on which the figures are positioned. Encircling Christ are several angels whose gestures of lamentation echo those of the figures below. Highlighting the severity of each scene is the blood that pours from Jesus' wounds. The blood from his feet drips onto human bones that are embedded in the rocky terrain below. The skull serves as a "memento mori," or a reminder of death, an idea that has been repeated in several other depictions of Christ's crucifixion.

This painting consists of two small panels in which one panel depicts the crucifixion of Jesus and the other portrays scenes that associate themselves with the Last Judgement. In the first panel you can see a crowd surround Jesus during his crucifixion. In the background, you can see a clear picture of Jerusalem. On the bottom you can you see five people that appear to be

Throughout Europe, the Renaissance period had various effects on art which can be broken down and seen from Southern (Italian) and Northern paintings. With the renaissance, came disinterest in dogma, and more of a focus on naturalism and humanism. However, the strong influence of religion never left either the Northern or Southern art works, due to the commission by the church. Giuliano Bugiardini’s, Madonna and Child with St. John the Baptist, 1510, is a pristine depiction of what Southern European art during the renaissance contained, element by element. Northern artists kept most their roots, focusing heavily on religion while enhancing on the details and adding few aspects of naturalism; while Southern artists took

The eye is first directed towards Jesus, who is the center of attention in the painting. His pale body is limp, and trickles of blood run down his face and body. There are holes in his hands and feet, and gashes in his stomach, which show the complete suffering that Jesus went through. The painting also feels a bit crowded with all the people. The artist may have done this to draw more attention to Jesus in the center. Van der Weyden superbly made Jesus’ body seem lifeless, and the crowded people look grieved. This causes the viewer to feel a pang and it stirs their heart to love God, which is called an

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

The introduction of perspective to the world of art has significantly changed the way art is created. Painting’s like Masaccio’s “The Holy Trinity and The Virgin” have “played a pivotal role in the history of art as both a definitive example of Early Renaissance linear perspective and as a kind of prophetic forerunner of the prospective method discussed nearly a century later by Leon Battista Alberti” (Aiken 171). According to Jane Andrew Aiken, Perspective hadn’t really been used much when the time “The Holy Trinity and The Virgin” had been revealed to the world. The painting had definitely received a notice by many connoisseurs of art for its different painting style and focus of topic. Religion was an obvious main focus during the time Masaccio had done this piece and the fact that he had drawn about the crucifixion of Jesus Christ had caught many people’s eyes. The use of perspective in Masaccio’s “The Holy Trinity and The Virgin” causes the depiction of the crucifixion of Jesus Christ to be the main focus in the artwork and give a sense of depth to the painting to the viewers despite their point of view.

Art in the Medieval Times was dreary and bland. Many works of art were solely about God or holy figures. The most obvious change from the Renaissance to Medieval Times was the arts, according to Document A and also that “One begins to know the names of the artists ... feel stronger emotions in the subjects”. This shows that Renaissance art not only changed in style, in changed in how it made the viewer feel when seeing the art. Similarly, in Document A, Renaissance art is described as “new artistic styles would echo the broader movements and interests of the new age.…”. As compared to Medieval Times, the style of art became something similar to the time that people could relate to. In the Medieval Times, art was just meant to extol God’s many feats. People who viewed the painting were supposed to put that style of art on a pedestal. Medieval art was supposed to be worshipped, not so much understood. The individual in the Medieval Times was supposed to take away from the painting that the only thing that mattered in their life was the Roman Catholic church and God already had a plan for their lives. But in comparison, Renaissance art was supposed to empower and help people of the time to understand themselves and the fact that they can change their own lives.

In 1938, Marc Chagall painted the first portrait of his crucifixion series. The White Crucifixion was developed from his own life experiences and combined both traditional and new customs to further showcase the interrelation between the disheveled state of humanity that has continued to exist. This painting has stirred a lot of controversy over the years because of Chagall’s sudden change in themes. Previously, Chagall focused on creating artworks centered on Jewish representations, but switched to depicting a Christian subject. The White Crucifixion leaves little doubt of Jesus’s identity as a Jew and further argues the interrelationship between Judaism and Christianity.

I chose Carr's painting 'Sconed as Timber, Beloved of the Sky' for the main reason that as soon as I opened up the image my eyes instantly widened from the tree standing in the middle casted upon by light. The perspective of this painting is from a low angle and I believe that was this was done in order for us to admire the entire tree as it's almost alienated from the rest of them. In chapters two and three of the textbook, Berger says that perspective is the basis of images and makes them seem more realistic and even draws us into them as if we are part of the images themselves.

It is a scene which is shown after Jesus was crucified, where his body has been removed from the cross and his friends and family mourn over his body. Many artists have focused this scene by just painting four people: the body of Christ, His mother, Saint Mary Magdalene and Joseph of Arimathea.