Art At The Blanton Museum Of Art

As the viewer’s gaze lingers on this central image, his/her eyes reluctantly and painfully follow the path of the crimson red blood that spurts out of Christ’s body and so naturally trickles down his arms into a pool at the base of the cross. The red bole that seeps through the cracked gold background seems to intensify this action. The pale grayish hue of Christ’s tortured skin morbidly conveys his lifelessness.

One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels

The artwork is one of the main ways to express the culture of a region or a country. Therefore, art has played a very important role throughout history. When talking about art, the first thing that comes to most people’s minds is probably that art is a painting or it is a sculpture. However, art has many forms of expression, and it closely connects to human’s daily life. Besides paintings and sculptures, art is everywhere around us. I am always interested in how people have linked art with daily life throughout history. For this reason, the two pieces of artwork I chose from my visit to the Museum of Fine Arts are both objects that can be used in everyday life: one is the mixing bowl and the other is an incense burner. Though they are from different cultures, have different making processes, and have a different purpose in usage, they both are good examples to show how artists tried to apply art using different techniques to human’s daily life.

Within the painting are six individuals. In the middle is Madonna and Child. To the left is Saint Francis and John the Baptist, and to the right; Saint Zanobius, the Florence Patron, and Saint Lucy. These individuals are equally placed in the foreground of the painting, bringing our attention right to them, however there is a group of two that is the most important. If you look at the gestures of

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.

Man Ray like many other artists did not care to have his personal life shown in his art. He wanted to be viewed and recognized for his work which included sculptures, paintings, and photography. Man Ray was mostly influenced by Stieglitz's photographs. Man Ray used a similar style to Stieglitz. He captured images that created an unvarnished look at the photos' subject. Man Ray discovered a new way to create his photos; by accident in his work room he discovered how to manipulate objects in his photos on pieces of photosensitive paper.

Looking at this artwork brings a great cast of sorrow to me. The scene of the painting seems dangerous and hostile there is positivity because a group of people is helping one single person. Some visual elements that are prominent to me in this painting include line, the unity of color, and a well noticeable focal point.

Pérez Art Museum of Miami is a modern and contemporary art museum dedicated to collecting and to exhibiting international art of the 20th and 21st centuries. It is provided with influence of cultures of the Caribbean Sea, North and South America that vitality and texture add to the civic scenery. The effort of the city of Miami to attract artists and cultural exhibitions have led to the building a magnificent facility as part of the re revitalizing Downtown Miami that can be visited by residents and visitors In the Museum Pérez Art Museum Miami (PAMM) there will be able to meet numerous exhibitions of art and events well-known local artists and of world reputation.

Artwork can be produced with the intention of telling a narrative, impressing an audience, or demonstrating wealth. Sometimes, a piece can do all three. A prime example of this, a member of the collection of the Lindau Gospels, is the “Crucifixion with Angels and Mourning Figures” binding (Stokstad and Cothren 451). This gospel cover was crafted around the late ninth century, 870-880, under the Carolingian Dynasty. Specifically, the binding was likely produced at “one of the monastic workshops of Charlemagne’s grandson, Charles the Bald” (Stokstad and Cothren 450). Today, the piece resides at the Morgan Library and Museum in New York City, New York (Stokstad and Cothren 451). Aside from possessing an unparalleled visual presence, the “Crucifixion with Angels and Mourning Figures” cover is also notable for it’s

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

The initial focus of the painting is Mary as a whole, or perhaps specifically her face and outstretched arms. El Greco, however, uses a Cartesian grid to relocate the focus to the geometric center of the canvas, a clearly intentional move necessary to create the basis of Mary’s upward motion. “Assumption” is strongly divided into four quadrants. The heavens, occupying the upper-half of the canvas, are divided in half vertically by Mary’s body, while the Earth is split by a clear part in the crowd that extends directly downward from that same line. The divine and mortal realms are separated fittingly by a line of clouds vertically centered on the canvas. The result is a crosshairs locked in on the area just below the Virgin’s feet—the area that will become the most important part of the canvas. The

I was lucky enough to be able to visit the Della Robbia exhibition at the Boston Museum of Fine Arts twice this semester. This was one of the first major exhibitions for Della Robbia in the United States. The Della Robbia series began with Luca della Robbia in the 15th century, and this exhibition showcased 46 works of his family and associated workshops. The exhibition itself was breathtaking and unique. The creamy, white gazed terracotta statues and displays were breathtaking and unique in their own way. However, the one artwork that caught my attention was the Resurrection of Christ by Giovanni Della Robbia, only one of the few colorful works that are in this exhibition. One can simply write books about the technique, symbolism and the references that are present in this magnificent work.

Spectacle and threacality are the use of light and shados to create a spot light effect, a term knows as tenebrism. This effect mainly focuses on the on the human drama and main characters of the story. When looking at the painting you will see that the background and the surrounding corners are very dark and shadowy in color, however the chief priest sodiers dressed in balck donot seems to dispear. The artist used bright and vabrime colors to reflect not only on the faces of the figures, but alos on their skin and clothing. The skin of the men in the artpiece glose in the spot light effect, allowing bright colors to contrat from dark once. Another attribute of the stylistic period is human drama. The man standing behind Christ has his hands up with his mouth wide open as if he was screaming for help. His rope fies over the figures heads suggesting motion and desperation. Jesus is the second figure on the left with a red and blue gown on. It's amazing how the light different parts of his face. The details of the wrinkles on his ford head and the position of his eyes suggests street, fear, and disbelieve. He crush his hands together showing that his user pressure and tension. The third man on the left of the painting appears to be Peter, because he seems to be protecting Christ from being arrested. Peter's facial and body expression display anger and the

The title of this poem translates into “Museum of Fine Arts” which is a museum that after some research, Auden allegedly visited and soon wrote this poem. I would infer, that the imagery present in the poem are allusions to the artwork that he saw while at the Musee Des Beaux Arts.

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.