Correggio's Madonna And Child With Infant John The Baptist

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

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

Many ages of art shine through Duccio’s portraying of Mary in Madonna Enthroned (fig. 6). Both being trained in the Greek manner, Duccio’s version of Siena’s patron saint is comparable to Cimabue’s Enthroned Madonna and Child with Angels and Prophets from the year 1280 2 (fig. 7). Duccio, however, took a softer

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

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

A Comparison of Barna di Siena’s Mystic Marriage of Saint Catherine and Rogier van der Weyden’s Saint Luke Drawing the Virgin and Child

In the painting, ‘Virgin and Child’, by Rogier van der Weyden, it can be observed that the artist chose to use the medium of oil on wood. Despite the fact that Rogier van der Weyden created this painting in the Netherlands and was born in Tournai, Belgium, their primary influence appeared to stem from the Italian Renaissance, which had begun to use the technique of oil paintings with increasing frequency by turn of the 15th century. The subject of the painting itself, Madonna and her virgin child, were a common theme in the Renaissance, where religious subjects and topics were the primary choice for any prominent artist during this historical artistic period.

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

The subject matter of this piece is the Virgin Mary, the baby Jesus, the young Saint John the Baptist and the angels who are up in the clouds. The Virgin Mary is looking at baby Jesus with the love of a mother. We see her dressed in a long white dress and a long blue robe for cover. We see the baby Jesus wrapped in warm blankets seeming to be enjoying the closeness of his mother. We see the young Saint John the Baptist sitting off to the right wearing a sheepskin, with his hands together, most likely praying to the baby Jesus and the Lord himself. The young Saint John the Baptist is also followed by a young lamb. The angels are watching over the group on earth but enjoying each other’s company as well. We see the angel on the far right kissing the angel to the left of them on the head. The two angels to the far

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

There is no lack of symbolism in Caravaggio’s ‘Martha and Mary Magdalene’. The painting shows the contrast between the two sisters even though they are wearing the same colors. Martha is dressed simply, while Mary is dressed elaborately and provocatively. Mary’s fancy dress is said not to be because of her prostitution, but because of her future loftier spiritual aspiration, in comparison to her sister Martha. Although the way the two are dressed are far from being the only symbols in this piece.

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.

     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 period housed many depictions of the Virgin Mary, including Cimabue’s Enthroned Madonna and Child. Mary was seen as the perfect example of feminine virtue, showing chastity, piety, humility, and maternity. Images of the Madonna, or Mary, whether sculpture or painting, encouraged women to live up to her. Mary wasn’t the only woman that was looked up to in Renaissance art. Women could be portrayed as witches, saints, temptresses, or members of the working class, and their image would still be an encouragement to dress and behave properly. (Jacobs)

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