Art Final Paper 201 - After the Renaissance

Giotto di Bondonne created “Lamentation” circa 1305. This piece depicts Jesus Christ removed from the cross as Mary the Virgin embraces Him. There are two figures in the foreground with their backs facing the audience. Dawning a new style of artwork creating a sense of depth. John the Baptist is seen flailing his arms backwards. Body gestures were stiff and stern in comparison to previous works. Bondonne is an early artist in “the revival of the visual arts” by painting a scene to suggest a story (Richards). For example, angels are captured flying in the distance watching the people care for the deceased Jesus Christ. They grieve in unison with the crowd down below. Bondonne successfully creates a feeling of three dimensions by including a cluster of people on the far left tucked away in the corner. The mass of people gathered around to offer praise for His ultimate sacrifice.

In general, both Giotto’s Lamentation and Caravaggio’s Entombment are idealistic paintings for their times. They both show the artistical achievements for their era by their use of detail and new techniques that are available for them to use within their perspective paintings. These

It may at first glance appear that this painting is all cluttered, but you would be mistaken. Reuben placed each item precisely in this piece of art. This style of painting is called Baroque. The style of art Baroque means detailed and broad paintings. Reubens evades rigid lines and tedious geometric structure to establish life and

The first artwork I looked at was Christ. This piece immediately caught my eye because of the way the artist depicted Christ. He was lifeless, blood dripping from his head, hands, and feet, with his arms outstretched to his sides. With a slimmed down face, and prominent ribs, he looked malnourished and emaciated. Before the 13th Century Christ was shown as a king and Son of God, usually with him standing in front of a cross with his arms stretched to the side, showing truth and faith. But since then artists have been presenting him as he looked on the cross when he was crucified. This is to show the suffering and pain that he went through for his faith. Christians will remember the anguish that Christ went through when they see him on the cross and this helps to remind them to stay close in their faith.

The painting shows man and nature in harmony. A clear sign that he focused mostly on drawing is the geometric forms used in the painting. He used very calm tonality to give it the calmness. His artwork and brushwork are very fluid and focused. This painting has no historical meaning because this painting was after his transition from historical to landscape. Instead of telling a story it is supposed to evoke a calm mood. The golden light contributes to its peacefulness. Now that I have explained both paintings individually, in the following paragraph I will talk about their differences and what makes them different.

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

What is Rebirth? The Renaissance, a cultural and historical movement, began in the 15th and 16th Centuries. Throughout the Renaissance, the influence of Ancient Rome was rediscovered after many advances in thought had been lost during the medieval dark ages. The center of this ideological revolution based itself in Italy. Renowned artists involved in the revolution include Leonardo Da Vinci, Michelangelo, Raphael, and Jan Van Eyck. After hundreds of years, numerous pieces of work which these gentlemen crafted still stand. The Renaissance springboarded numerous, unique styles of art and dramatically impacted modern day art.

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 lamentation by Giotto depicts the death of christ and the subsequent morning of his followers including Marry, after he removed from the cross. The scene itself is nothing new, it has been depicted countless of times before. It is Giotto’s revolutionary style, or rather his regressive style, that brought European art back to a more realistic depiction of figures in religious art. In The Lamentation the viewer can sense a three dimensional space in which the subjects inhabit. In addition to giving the work a little depth, Giotto also added figures that did not serve a narrative purpose and only existed to assist the viewer’s eye and provide a surrogate figure for the viewer to identify with. These figure have their back s turned to

The comparison/contrast of Giorgione’s Enthroned Madonna with Saints Liberals and Francis of Assisi and Tintoretto’s The birth of John the Baptist. Giorgione’s is painted during the high renaissance era and Tintoretto’s is painted during the Counter Reformation era. We will begin with the main focal points in the paintings. Both painting have different main subjects but they both have the Madonna as/in the main focal point.

Avery Fletcher Humanities December 3, 2015 Renaissance Ideals in Art El Greco’s Disrobing of Christ is a great example of humanism and realism in the Renaissance time period. The Renaissance people valued the human body and the life of man in general, in other words, humanism.

El Greco’s Lamentation of Christ is “a translation in paint of Michelangelo's late sculptured group of the Pietà in Florence Cathedral, at the time in Rome. The pattern and the feeling are the same. The figures of the Dead Christ, His Mother, Saint Mary Magdalene and Joseph of Arimathea make one compact group. Michelangelo achieved this by his new treatment of form; El Greco by paint, by employing broader, more continuous passages of color. The more vivid colors of Rome combine with the richer palette of Venice to convey the intensity of expression demanded by the subject. The horizontal composition of Venice, more suited to a narrative type of subject than to the single image, is given up and is only very rarely found appropriate in Spain. Michelangelo's Pietà group was not the only source on which El Greco drew: the arrangement of Christ's legs and his outspread arms, no less than the idea of viewing one of the two bearers of his body from the side and the other from behind, derive from Michelangelo's drawing for Vittoria Colonna, in which, as in El Greco's painting, the Virgin is placed behind and above Christ.” (Web Gallery of

The top of the painting has barrel vault while helps the painting to be part of the sightlines. On the other hand Rublyob’s painting lacks the depth. In Masaccio’s painting, the attention to details is outstanding. Both paintings represents the three part of God or the Holy Trinity. In Masaccio’s painting Jesus is the center point of the painting but there are lots more going on in this painting. The background and around the Jesus has lot of small details that truly makes it a master piece. At the top of the painting there is God, the Father. Right under the God, there is Jesus, the son. However, the small detail that most people fail to pick up is the dove in between God and Jesus. The dove represents the holy sprite which looks like a collar or piece of the clothing God’s wearing. Rublyob’s painting has similar message but in a completely different way. In Rublyob’s painting it is believed that the God sent three angels to visit Abraham in men’s shape. However, by looking at the painting in detail it is actually the Holy Trinity. From left to right, it is the God, the son and the Holy Sprite. Jesus being in the center of the painting. In Masaccio’s painting the dove is looking down on Jesus in a way which shows strength and support. In the painting Masaccio’s really showed the pain Jesus went through. The tears in flesh and the pain shows in his face. The abdomen and the ribs showing the suffering Jesus

Both served as a devotional and decoration piece. The last identical thing is the subject matter; they narrate the Lamentation from the passion of Christ in which a group of Christ’s followers mourns for him after the Crucifixion. The scene depicts an anguished Mary embracing her son, and Christians with some flying angels are crying over his death.

One major indicator is the color used in the costumes of the work. We see colors being used to make connections between figures in the depictions of Herod and Herodias. Both are shown dressed in a vivid red that, though it appears in other elements of the painting, establishes them as a visual pair and mirror of each other. There is a second, pair that are connected through a carefully constructed mirroring of colors in their dress: Salome and the executioner. The gold of Salome’s dress when the light hits it and the blue of its shadow match perfectly with the two tones on the executioner’s armor. They also stand in similar positions, with one or both arms raise above the head: Salome to dance, the executioner to strike. This deliberate correlation asks viewers to make the connection between the dancing girl and the man about to kill the Baptist. This forces a connection to be made between Salome’s actions and the death of John the Baptist. Gozzoli made