Art Comparing

Art is able to transport its viewer through time and connect us as a community. Audiences are able to infer the content and context of the artwork. Art displayed through different mediums and about different topics can share many similarities and draw connections between one another. Exodus, created by Shelby Lechman (2015), uses oil paint on canvas to depict a young boy and father in a train car, leaving their home in Hungary during the time of the Hungarian Revolution (fig.1). Back into the Earth: Creation and the Interpretation of Meaning, created by Tamara Himmelspach (2015) is a series of 11 prints and a physical dress displaying the designer in a jingle dress representing the traditions of the Ojibwa culture

In this essay, the difference between Northern Baroque and Italian Baroque styles of painting, the differences between a male and a female interpretation, the narrative differences, and the psychological dilemmas they present to the viewer will be discussed.

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

Caravaggio’s, however, was darker and more dramatic. Caravaggio started an intense style called tenebrism. Tenebrism is a more prominent form of chiaroscuro, where there are vehement contrasts between light and dark. Fred Kleiner best describes Caravaggio’s style, “In his art, Caravaggio injected naturalism into both religion and the classics, reducing them to human dramas played out in the harsh and dingy settings of his time and place” (Kleiner, 681). Caravaggio painted during the Italian Baroque in the 1600’s. Italian Baroque artists like Caravaggio embraced theatricality and extravagant ornamentation, while Renaissance artists focused more on precise classical models. Now Caravaggio wasn’t exactly an upstanding member of society, most of what the art world knows about him is through his police reports. Caravaggio’s Entombment was created in 1603 and, like Giotto’s Lamentation, depicts the death of Jesus. While they both depict the same religious scene and use styles that are new for their time, Caravaggio’s painting has some drastic differences from Giotto’s. Caravaggio’s painting is oil painted on canvas, which gives Caravaggio the opportunity to be more detailed in his painting than Giotto can with fresco. Caravaggio creates these intense dramatic scenes of diagonals and intense movement. Unlike Giotto, Caravaggio uses linear perspective to direct his viewer’s attention to the body of Jesus. Caravaggio does this by using a diagonal cascade of mourners descending towards Jesus’ body. Inclusively, Caravaggio started a darker, more dramatic movement that gave naturalism a new realistic element.

Renaissance art created standards and principles that every painting and artist had to utilize in order to even be considered good, let alone great. Characteristics such as the phenomenon of natural light, one-point and linear perspective, and highly idealized religious or mythological figures changed into the Baroque techniques of manipulating light to create emphasis, dramatizing the illustrated allegory, and unidealized realism. Additionally, “… the Baroque trend dominated and gave its name to the age… [but it was the presence of both styles] that give the Italian seventeenth century its richness and diversity.” (4) Italy, and Rome especially, is home to what can

Bright colors jumping at you asking for attention, images so real viewers can not tell the difference. These are the thoughts that came to my head as I gazed at two works of art by two Mexican artists at MoLAA museum of art . I visited two museums, Bowers Museum of cultural Art in the heart of Southern California and the Museum of Latin American Art in Long Beach for my report unfortunately I only liked the works in MoLAA and will talk about it through out my paper. I will talk about two Mexican artists Rafael Cauduro and David Alfaro Siqueros that caught my eye, and made me want to learn more of them and their approach to art. Siqueiros caught my eye and interest because according to his biography “no

Most forms of Catholic Baroque art are assertive and, as intended, assault ones senses. The evolution of religious art from the uniform composition characteristic of the Italian Renaissance through the evolving Mannerism in to the bold and striking Baroque was striking to say the least. The stylistic changes from Da Vinci's The Last Supper to Tintoretto's version in the 1590's bear a perfect example of this transition. The point of view in Da Vinci's was central and allowed for a

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.

This essay will compare and contrast the work of two sculptors who use the human form as a basis of their artwork. The first sculpture “Apollo and Daphne” by Gian Lorenzo Bernini was created in 1622 and portrays a Romanian story. Where as “Two Women” by Ron Mueck is a hyper realistic sculpture made by an Australian contemporary artist.

Howard Hibbard's Caravaggio is an insightful look into the troubled mind and life of one of the most discussed artists of all time, Michelangelo Merisi da Caravaggio.  Hibbard immediately expands on his belief that Caravaggio is the most important "Italian painter of the entire seventeenth century."  Furthermore, his paintings "speak to us more personally and more poignantly than any others of the time."  Caravaggio is an artist whose life was far different from all other contemporary artists of his time, or any time.  Unlike Annibale Carracci, Caravaggio's works were able to express many of his own feelings and emotions.  As Hibbard says, Caravaggio was an artist who "somehow cut through the artistic conventions

While in Naples, Caravaggio completed The Seven Works of Mercy (Fig. 5) to be housed in the church of Pio Monte della Misericordia. Richard Spear described this image as “powerful mannered chaos” that “begins a pattern of such confusingly positioned bodies that often it is difficult to tell which limb belongs to whom” . This anarchy can be directly contrasted to his earlier works, such as the Boy with a Basket of Fruit (Fig. 1), where a singular subject is serenely identified. While Caravaggio’s expert use of light and shadow remains similar, the human form and the emotions the subjects evoke are drastically changed. Gone are the calm Caravaggio pieces, having been replaced by pandemonium and turmoil. The soft white seen on the drapery of androgynous boys will not come up in Caravaggio’s work again, as he now chooses to cloak his subjects in darkness. Roger Hinks expresses a similar explanation in his book Michelangelo Merisi da Caravaggio: His Life, His Legend, His Work describing it as almost Gothic, with calculated light that serves to distort the bodies of Christ and the executioner. Hinks suggests that the “curious use of shorthand symbols and portmanteau actions” seen in the neurotic piece were not done out of haste and speed, but instead deliberate actions taken by a perturbed Caravaggio in order to evoke the sense of intensity that embodies the image as a

Michelangelo Merisi, known as “Caravaggio” was known for introducing realism and drama by using theatrical lighting and gesture to Italian Baroque art. Caravaggio’s paintings were focused on religious matter commissioned for the Catholic Church. Georges de la Tour was well known in his own time but then forgotten until well into the twentieth century. His work consisted mostly of candlelit subjects, and he commissioned paintings for royal aristocrats such as King Louis XIII and Henry II of Lorraine. George de la Tour is one of the most important examples of the many artists during the seventeenth century who were greatly influenced by the work of Caravaggio.

     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

This painting exemplifies many of the characteristics of Caravaggio’s paintings, which is typical in the Baroque period.

To understand the characteristics of Baroque style is to truly understand artistic measures of the sixteenth to eighteenth centuries. Baroque, a single word describing an entire period of art, can be broken down into more than one actual form of art. The new European age birthed this developing style of architecture, coming from ideas on religion and politics. Set apart in three different countries, visitors of St. Peter’s Basilica, Versailles, and Hampton Court Palace, engulf themselves in historic Baroque styles and beauty. The international style “was reinterpreted in different regions so that three distinct manifestations of the style emerged” (Matthews 392). The florid, classical, and restrained baroque design of the three different buildings gives us a historic lesson on the reasoning behind its purpose.