Cupid Chastised Art Analysis

Painted on a panel, this painting was done in tempera, a pigment dissolved in egg. The chief medium till the late 1400s, tempera dries very quickly and when it does it gives a flat and dry appearance. This painting has sharp brushstrokes that do not fuse together and the forms have very sharp edges. All this is attributed partly to his style, and partly to the limitations of his medium. Artists at this time did not know much about the study of perspective, and Barna di Siena’s image reflects this flatness and lack of dimension. Not only are there different people on different scales supposedly in the same plane, even individual

The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.

Stylistically, his painting is an example of the “smooth” manner, characterized by fine technique in the portrayal of illusionistic form. In this painting, Calabrese uses strong directional lighting from the top, left corner of the painting to highlight the scene. It is Caravagesque in the way

Whereas Bellini used landscape style for his painting, Castiglione chose do his painting as a portrait, so that there is no doubt when looking at the image that St. Francis is in fact the main subject and focus of the painting. Aligned somewhat in the center of the canvas and taking up a majority of the entire painting is Saint Francis kneeling down on a rock as he grasps tightly and desperately to the crucifix as he looks up into the sky. A golden light in the sky above him creates almost a halo above his head and swept over his face is a look of pain and devotion. Unlike Bellini’s, Castiglione’s painting is neither filled with detail or landscape. Other than the close-up figure of St. Francis there is little else to be seen or focused on. The light that is cast upon the rope tied around the waist of his brown habit leads us to the only other details or objects in the entire scene. These include the green ivy climbing over the rock where he kneels, as well as a skull and open book that lie on the bottom left of the

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

The main focus of the painting intended by Titian is a nude woman, Venus, looking straightforwardly at the audience. The young woman’s nipples are erect; with her left hand covers her pubic area, the sexuality of this painting is unquestionable. She is completely naked except for the ring on her little finger and the bracelet around her wrist. It is clear that the intention of this painting is to evoke sensual feelings in its audience.

The picture symbolizes the aftermath of incestuous actions. Venus is evidently present at the center of the painting, recognizable by the golden apple in her left hand from the Greek myth The Judgement of Paris. A robust adolescent male figure with wings can be seen entwined with her. It is her son, Cupid. The undeniable sexuality of their embrace has long been debated over as scandalous behavior. Rather than channeling the act of incest in itself, Bronzino exploits these two as symbols for the personification of male and female sexuality. Whichever case it may be, the erotic narrative of the painting becomes instantly clear. Venus, determined to get Cupid’s arrow submits to dire endeavors when Cupid refuses and tries to distract him by seducing him while she takes the arrow from him. Venus and Cupid are painted

There is a spotlight on St. Peter’s face and half of his accusers face, indicating that the focus of the painting with light, that Peter is the main figure. Caravaggio uses light to portray a specific moment in the Denial of St Peter, the light shines directly onto Peter, half of the woman accusing him and no light on the soldier. The soldier is in the shadow but the light is slight directed on his back. With the light centered on St. Peter and his accuser’s face, the lines are contoured, to mimic reality in the pictures. The figures facial expressions, (emphasized on St. Peter) look more realistic. The lines and textures on Peter’s face, suggest that he is rejecting the accusation, as the lines in his forehead are creased as he shrugs up his eyebrows and St. Peter’s hands are placed inward. The drapery on the garments on the figures look realistic, but looked as if they were placed like costumes. St. Peter’s face is the one most accented.

Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting. Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and is void in the others.

Caravaggio made lightness and darkness of color within this painting by adding value. The way he uses value is by making the background black and adding colors to the front of the painting. However, they aren’t just any kind of colors, the colors that he uses are set to a dark tone. This makes the entire painting feel more intense and suspenseful. Especially, since the material that is in the background is red, red usually meaning evil.

The famous quote “I do not believe in the God of theology who rewards good and punishes evil” by Albert Einstein. This quote has a lot to do with both short stories Cupid and Psyche and “Ashputtle”. Each story was related to how the villains were extremely cruel to the main characters. The evil relatives made them go through difficult tasks that they shouldn’t have to face alone but did. The girls both had to face the same things, but in different stories and had their happy ever after at the end. But toward the end of the stories there were some differences on the two of how each evil relatives got punished. Both stories refect on how good is rewarded and evil is punished

To begin, the main figures in this piece are Europa, a mythological nymph, and Jupiter, the chief god who transformed himself into a white bull and kidnapped her. We know who the main figures are due to everyone looking at their direction and the number of details that make Europa and Jupiter stand out. Such details include the flower crown around the bull and the excess of fabric wrapping and flowing around Europa. As a viewer, it can be noted that this piece is composed of various flanking figures that range from notable sea deities to flying Cupids. Above Europa, we see a wind god blow air in her direction. Additionally, on the far right, a woman sits on a shell throne with a man wielding a trident whispering at her side. Overall, the figures refrain from assisting Europa on her kidnapping and prefer to remain on the sidelines.

The fixation is set on her in the center of the painting due to the triangle of light used to create a focal point for the viewer. Surrounding her on both sides are the linear equivelants of past and future. From the left we see her creators helping her along with strength and the force of the wind. To the right we see her handmaiden ready to usher her into the world, where she will be clothed and no longer represent innocence. Both exhibit two very different forms of love and caring to Venus.

The art piece that I chose to critique is the sculpture of a figure kneeling down and getting shocked. It is located on campus near the Morris University Center(muc). When I first saw this sculpture it caught my attention immediately, because of how gruesome the piece was. I feel like I don’t have a good understanding of what the sculpture represents, but it seems like it would raise plenty of controversy, due to its erotic features. It seems like the artist was venting his emotions when he created his idea. The sculpture is fairly large in size, which makes it noticeable, among the other art pieces on campus. The sculpture media consist of wood and concrete, and metal mostly. The individual is keeling down toward the west and is supported