Dark Shading In The Renaissance Period

The outbreak of witchcraft accusations of 1692 in Salem, Massachusetts was a devastating period for those involved in the crisis. Because of the random and frequent witchcraft accusations made throughout the time of the trials, the reoccurring characteristics that were often indicative of an individual’s likelihood of being accused of witchcraft were not always consistent. In John Demos’s book Entertaining Satan: Witchcraft and the Culture of Early New England he includes a diagram containing nine points of what he believes to be the definitive characteristics of a “typical” witch during the Salem witchcraft trials. It is important to note that Demos’s portrait of a witch identifies the “typical” witch, not every witch. For

The woman has a featureless face, and a white parallel pattern represents the flowing raffia skirt. The woman is running, depicting movement. The horns are shown in a twisted perspective. The small white dots on the body of the woman represent body paint. The work has earthy colors, like white, gold, and beige, and is painted onto a medium-brown rock. The work takes up a fairly large space on the rock it was painted on.

The witchcraft crisis through colonial New England is visualized through the work of Mary Beth Norton and Carol F. Karlsen. The scholars demonstrate deep understanding in the subject, and both present valid information through their overall theses. In order to understand the complete story of witchery in the seventeenth-century, these two books intrigue the reader in what the authors want to present. Although, their research seems bias, both historians similarly delve into the topic with an open mind, and successfully uncover information that has not be presented before. Not only does Norton’s In the Devil’s Snare and Karlsen’s The Devil in the Shape of a Woman both represent the study of witchcraft through feminist ideals, Karlsen’s

Another widely held belief was the gift of flight. To be involved in witchcraft the person would possess some supernatural power. Some believed that witched were able to change themselves into animals. All witches possess the power of flight, which is why to this day they are depicted as riding broomsticks. It has been suggested that the broom is a symbol of the female sex as well as a phallic symbol.

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The modern film The Witch by Robert Eggers is set in the 1630’s in New England and follows a Puritan family in their struggles against witches and witchcraft after being banished from the Commonwealth. The story depicts the fears of witches and witchcraft from a Puritan perspective while drawing on portrayals from the Pagan and Christian tradition of the witch to reinforce this image. The Witch uses Pagan, Christian and Puritan concepts of witches and witchcraft to establish an superstitious atmosphere filled with fear, uncertainty and paranoia; this effect aims to represent a similar psychological state of mind the Puritans had towards witches during the Salem witch crisis. Firstly, the elements The Witch uses to develop this atmosphere are images of common witch familiars and animals that have been attributed to them throughout history. Secondly, witchcraft that have been believed to be performed by witches as well as their association with the devil establishes a sense of superstition. Finally, the personality and physical traits of the witch’s character is used to enhance the fearful atmosphere throughout the film. Appearances of animals and familiars associated with witches occur throughout the film and gives a foreboding sense of what is to come.

At this point the sole human figure in this painting should be discussed in more detail. The woman is a goatherd. She is dressed in peasant clothing, including a striking red smock and a pair of oversized clogs. Her skirt ends at her ankles in order to keep it from dragging in the mud. Her

Hair styles and make-up have been a significant part of the culture for centuries. It has been changing with every era, decade or style of art. The difference can be as small as a change of a shape of the eyeliner or it can be a complete change of people’s looks. What was considered beautiful in Renaissance was absolutely outdated 100 years after this era. In this essay I will be talking about the hair and make-up in Renaissance. It all started in Italy, home of the greatest artists of the time. The first section of my essay will be about Italy and the way people were changing their natural appearances using various products. In the second section I will move to the north of Europe to explore a bit more about this topic and see how much the fashion that was set in Italy has changed. In the third section I will look at what was going on in the Great Britain and compare the Elizabethan hair and make-up to the continental style.

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 Renaissance era created many very popular and beautiful techniques for painting and making artworks. The three most common techniques of this time would have been, fresco, tempera and oil paintings. Fresco was very popular among artists as it was easy enough to use and was good quality. Artist would mix pigments with water and apply them to wet plaster. Once the paint had dried the pigments would have absorbed into the wall making them one.

The model in the painting was viewed more as a real subject or person and less as a generic face of upper class in a work of art. It was so odd to some viewers they seek to find the real women in the painting witch was unusual.

The vases take up a lot of space and tower over the girls while the wood floors have diagonal inlays which turn into diamonds and rings that the rug exhibits. This turns your eye to Julia, the smallest child on the rug who is given most of the “light”, her posture is informal, legs slightly bent inward with wondering eyes. She is the first thing your eye is drawn to. She is painted with a rather conventional portrait position; framed by the vases. She is playful and is in all white, the innocence of the little girl draws your eye next to the somewhat suspicious girls directly behind her. These girls you can tell have a small age gap in between them. They are the oldest and are overlapping each other in a dark, shadowy area; wearing identical outfits and having very similar hair styles the only difference is that Florence is facing the viewer while Jane is turned, and looking away. The girls are motionless, and look rather bored, there is no real expression on their faces. They are most likely returning from a normal day at school and are just playing around the house. The pinafores are so they don’t ruin their good clothes. The fact that the girls are wearing white pinafores to protect their clothing suggests that, they are not posing to be painted, but were in fact captured in an informal, personal moment. Mary Louisa to the left is bright and lit on one side and shadowy on

Although witches have a reputation for being ugly, old, children eating creatures, in films they could sometimes be portrayed as a complete contrast to this usual image. In the film , The Craft, this is the case. Four teenagers, who also happen to be witches, Sarah, Nancy, Bonnie, and Rochelle, are normal high school students that are all going through incredibly rough times. Sarah has just moved to Los Angeles and is dealing with the loss of her mother. Nancy, the main antagonist, has grown up in a life of poverty among a mother who neglects her and a stepfather who is abusive.

The Renaissance time period was home to many new ideas in art. This includes new artists bringing forth ideas that had yet to be discovered and made popular. New themes and types of art were also being brought forward during this period.

I don’t think that in the middle ages it was really dark in Europe. I think this because after all of the wars and fighting everything increased in side. Like the crops, and the people. The people increased from 25 million to 70 million! That is a lot of people! When there were a lot of wars and fights , the ground became soft and it was easier to dig and plant crops. Also there was a lot of rain fall so the crops grew.