De Equo Analytical Essay

Conjoined by Judith Minty is a poem that represents a broken relationship or a broken marriage. Minty uses similes, metaphors, and analogies to describe the miserable union of two people and the inseparability of the marriage that these two people are in. Marriage; the poem’s subtitle sets the theme of the poem and it is only when one begins to read the poem that it becomes understood as an unhappy poem rather than that of joy and happiness. Minty uses words that with connotations that steer more to the negative side to describe the life of a married couple. Although she does not come right out and say what she means to say, the poem speaks for itself. Orson Scott Card once said, “Metaphors have a way of holding the most truth in the least

In Regarding Michelangelo’s “Bacchus,” by Ralph Lieberman, The journal describes a brief history of how the statue came to be as well as a very detailed description of the statue at different angles. The Bacchus was originally a commission work of art to Cardinal Raffaele Riario, but due to it’s nature of the drunken Bacchus statues, the cardinal found it rather inappropriate and the work of art found its way to the house of Jacopo Galli. Furthermore in the reading, the author goes on to tell us about the various reactions the statue holds within every angle viewed. He argues how that Bacchus is a milestone for the humanistic realism of the renaissance art.

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

One of the most obvious examples in which Greco Roman culture was displayed in the era of the Italian Renaissance was through the works of art; and more specifically the medium of sculpture. Take for example, the piece by Donatello, Saint Mark, this piece harkens back to the artwork of the Greek culture by having the character whom is sculpted to be positioned in the contrappasto style, where the audience may view “the drapery covering his body beneath, particularly his left knee as it projects forward… He is, in other words, a fully realized human form”; this technique was predominantly used by Greek artists, and was relatively abandoned by all other artists after the fall of the Greek empire to the Romans (Sayre, 2015). Yet, the artists of the Italian Renaissance saw the beauty and value of

At first glance, Giovanni Paolo Pannini’s Picture Gallery with Views of Modern Rome (1757) reveals very little past the outsider-looking-in perspective we are given from Pannini’s perspective. In the center is the Duc de Choiseul surrounded by detailed views of Roman architecture including buildings, fountains, and monuments and several infamous sculptures from the 17th and 18th centuries. While looking at the painting, it is hard to pinpoint one focal point within the composition when the walls of the gallery are filled with paintings from the floor to the ceiling. The focus becomes about the space Pannini has created and it does not focus on one specific object or figure. Each view of Rome seen in the imagined gallery adds to the illusion of Rome as an ideal city and to the idea of its beauty. By showing a space that reflects this beauty through the numerous paintings, sculptures, and architecture Pannini’s painting transforms into an allegory. Even though this painting was commissioned to commemorate Rome, he is able to portray the city and its architecture through a well respected and scholarly environment uncharacteristic of any known space or time. These characteristics cause the which allows it by creating a fictitious These allegorical characteristics do not become known unless you take a closer look at Picture Gallery with Views of Modern Rome (1757).

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

When examining the statue, there is an old woman bent and weary. Her posture helps clue us in , with her age and health. The figure is dressed in cloth that hangs off her shoulders. She carries a basket that is filled with what we may think are offerings. Then on her head, there are vines that create a band around the top of her head maybe used to signify the festival that was going on during that time. The specific detail that is seen on this statue persuades us to want to know the story of this woman. Doing so, the process involves lots of research about the time and art. During this period, artist begin to introduce more inner beauty than physical beauty. We get to learn more about the structure itself, then settle for what is given and seen.

The following piece although very similar in theme, is created by Giotto di bondone whom was taught by Cimabue himself. Although comparable to Cimabue’s, it also displays many artistic differences with gothic influence. It uniquely displays a greater spatial consistency and sculptural solidity; this particular painting seemingly depicts the seeking of light theme so common in the gothic period. Praised for the lifelike figure with three-dimensional forms, it seemingly begins to rid of the Byzantine influences.

The visual work I have chosen is the Bith of Venus and is one of the world’s most famous works of art. Painted by Sandro Botticelli between 1482 and 1485, it is the first example of painting on canvas. The written work I have chosen is the Stanze per la Giostra. It was written by Angelo Poliziano, written between 1475-8. Both works are examples from the Italian Renaissance era, during the Medici rule, and share the theme of beauty and humanism. The works I've selected share the same subject matter, Venus, and is the perfect example of beauty and humanism. She is the epitome of beauty and her birth from the sea is an example of her metamorphosis of humanism. For this paper, I will compare both works then discuss how the shared theme is seen in contemporary works. How does Venus and her beautiful metamorphosis fit into contemporary forms of beauty and humanism?

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.

Donatello’s bronze sculpture of David is not to be confused with the much larger and more widely known statue of the same name, done by Michelangelo. Donatello’s statue of David can be found in the Bargello museum in Florence, Italy. The statue only stands about five feet tall, which when compared to the seventeen foot sculpture by Michelangelo, is relatively small. The statue is made of bronze using the lost wax technique. It depicts David as having a very effeminate contrapposto stance, (the standing figure is posed so the weight rests on one leg, while the other leg is bent at the knee in a very relaxed position), despite standing upon Goliath’s severed head. One could almost view David as a girl, provided he was not nude, due to the soft looking expression on his face, and the way his hair flows. The floral arrangement upon his head is very distinct. The statue exudes epicenism, as David is clearly a soldier holding a sword and wearing boots standing upon his vanquished foe’s head.

Donatello around the mid 15th century creating a turning point in sculpture be adding meaning to his creations as he watched them grow. Sarah McHam, wrote in her article titled “Donatello’s Bronze David and Judith as Metaphors of Medici Rule in Florence” the power of Donatello’s bronze sculptures and how they signaled a start for Florence during the Medici’s Rule. The main argument of this article focuses on the iconography and symbolism used in Donatello’s “David”, and “Judith and Holofernes.” Both are bronze and commissioned by the Medici family and located near each other. Both don’t have much in common outside of their placement and the idea of using old Greek and Roman poses, and the idea of a hero and placing it in modern times. Another concept is the inspiration for “Judith” might have been through a story titles “Policraticus” which emphasis murder and how powerful that sculpture was in presenting that concept.

In the book Leonardo da Vinci: The Marvellous Works of Nature and Man, Kemp demonstrates his knowledge on Leonardo’s portrait through stylistic analysis and historical input. Shell and Sironi presents their article Cecilia Gallerani: Leonardo's Lady with an Ermine, through studies in the identification of the painting. The authors of the article study physical and historical features of the painting to create meaning. Through the analysis of stylistic features and examination of history, the meaning of the Lady with an Ermine can be uncovered as a portrait with poetic vitality and aristocratic value.

The Mona Lisa has to be one of my favorite paintings of all time and has lead me to use this specific painting as a topic for this paper. Not to mention the love I have for Leonardo da Vinci. I, myself have always been drawn to da Vinci’s paintings and all of his other achievements that he has given us during his life. I, like Leonardo da Vinci love art and science just as much as it seems he did. He shares a love of art and a fondness for science. It also seems that he loves a good mystery, and the Mona Lisa just happens to be one clouded in mystery. And I too love a good mystery.