Comparing The Painting 'Giovanni Arnolfini And His Bride'

Christian artwork is used to represent and symbolise the Gospel and important figures. Not all individuals could read and write, therefore images were very important in delivering messages and teachings. One artwork chosen is “Annunciation” by John Collier created in 2003. This modern artwork shows Gabriel asking Mary if she would become the mother of Jesus. The other one is the “Holy Night Nativity Scene” by Antonio Correggio created in 1530, which focuses on and sets the scene of Jesus’ birth.

In the article “Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait” the author analyzes the religious and social grammars of marriage. This short paper will be a reflection of Harbison’s article that discusses religious and marital norms throughout, with also analyzing various sections of van Eyck’s piece, for example: implying the piece as a marriage document or contract of the marriage, which immediately makes the viewer look deeper into the double portrait. All of this helped me realize that pieces of art are not simply “pictures,” rather they are narratives like a scene in a documentary. The author starts the article with a clear thesis of analyzing the social religious and marital norms when this piece was made.

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

The love of marriage is shown in the small myrtle flower lying beside Venus, the flower petals and shell above her head are both said to be in connection to marriage. What's also very important to the painting is the way the bodies are positioned and what they are doing. Venus lying down placing her hand amongst her chest, this further resembles the institution of marriage in partnership and brings forth desire. Cupid on the other hand, which I was curious about, is peeing in Venus’s direction, through an ivy plant which is mentioned to represent fertility. On the Museums website this act along with the veil, crown, and pearl earrings, represent fertility referenced by “Italian Venetians”. What I found most interesting about this painting is the tiny snake near Venus. Why is it there? Especially in a painting that resembles marriage. The museum website mentions that this snake reveals the “darker aspect” of marriage. That is, “illicit”, not approved of. I also wondered about the rod that lies near Venus, and the website does say that it is most likely used to discipline Cupid. Nevertheless, the meaning of the painting is marriage as a happy institution, the museum also mentions that the message of “epithalamia” is conveyed as necessary, and that marriage is something everyone must do, and experience, and that this is in our nature to do so. Which explains the very natural

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

The couple's outfits are thick and even have fur, although the painting suggests that it is spring or summer, due to the amount of sunlight entering from the window and the fresh oranges (most oranges are harvest during the spring). The furniture and the drapery is impressive, and the oranges themselves are rare and are therefore a symbol of wealth. The painting also illustrates the relationship between the two subjects through various objects. The painting suggests that the subjects are married. There is a dog in between the couple, which represents loyalty. Both characters have rings on their ring fingers, which suggests that they are both married. Also, the painting shows that both characters have removed their shoes, which implies that they are standing on holy ground, such as Moses was when speaking to god through a burning bush in the bible. The reason they are on holy ground is because a holy ceremony has taken place, that is, a wedding. Notice the characters' body language is composed of the dominant husband and the submissive wife. There is also various references to the newlywed couple's intentions of starting a family. Not only does the wife's attire exaggerate her belly, making her seem as if she were pregnant, but behind here there is a statue of Saint Margaret, the saint of childbirth and fertility. When the individual objects of this painting are viewed as a whole, the message becomes clear. Jan van

The “Giovanni Arnolfini and his Bride” (1434) by Jan van Eyck is also known as The Arnolfini Marriage, The Arnolfini Wedding among other titles. This painting is referred as one of the more complex and original paintings of the Western art due to the fact of the unusual geometric-orthogonal perspective (in contrast to the case of the Oath of the Horatii), iconography and the use of mirror for reflecting the space. It is essential to put an emphasis on the fact that the art historians consider this portrait as a unique one because it is the form of a painting, which depicts the record of a

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

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

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.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Also, the Bible is open to the prologue of the Gospel of St. John. If the Bible had been open to the second chapter of the Gospel of St. John, which tells the story of Christ blessing a wedding, then the scene may be appropriate as an effigy but as it is painted the scene is not traditionally appropriate for a wedding. Luigi de’ Rossi also reportedly attended the ceremony in Florence, making it odd that he would be included in a supposed effigy meant to represent the three men in their absence. Some of these reasons have been discounted in order to maintain this interpretation behind the commission of the painting. The first being that the portrait was first painted to be a state portrait of Leo X with a green backdrop, but upon learning that he would be unable to attend the wedding of Lorenzo de’ Medici was transformed into an effigy by Raphael and because the two cardinals were also supposed to

The artwork by Paolo Veronese were known for being created on large platforms and were centered on religious topics. One notable works of his was The Wedding at Cana. This piece is a depiction of Jesus' first miracle as he turned water into wine for a wedding celebration. Based in Venice, Veronese's life was heavily influenced by the Christian culture and was esteemed by the community and church officials for his artistic abilities. As Veronese painted in the Mannerist style, The Wedding at Cana was an asymmetrical painting with elegant principles. Also, Veronese heavily used vibrant colors to show the richness of the subjects and to create light. This painting has lived through several interesting eras and owners. Wars and political overlords dominated the geography of this painting and even damaged the canvas. Since Veronese's style and talents were sought after, his work, religious and secular, was mostly commissioned by patrons of the Venetian community.