Depictions of Saint Sebastian in Visual Art and Music Essay

When I was told to choose a saint to be my patron saint for Confirmation, I thought the choice was obvious for me. It took me just a few moments and one quick touch to my neck to remember my patron saint, Saint Sebastian. I have a medal that I wear every time I leave the house with a picture of Saint Sebastian that says “Saint Sebastian Pray For Us.” I was given this medal when I was very young.

However, Saint Sebastian eminented himself and as for his preeminence service, he was then promoted to Praetorian Guard for his services to protect Emperor Diocletian. While under the job of Praetorian Guard for Emperor Diocletian, Saint Sebastian converted multiple individuals into Christianity. Which ultimately lead to his discovery of being a Christian and reported to Emperor Diocletian, who was infamous for ordering deaths of Christian. Therefore, Saint Sebastian’s ordered death from Emperor Diocletian was to be used a target practice for archery by his guards. After he was used for archery target practice Emperor Diocletian’s guards left him there for retrieval and

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

The Italian word paragone refers to a type of competitive comparison in an art-historical context. In the 16th century Italy, due to the development of artistic practice and theories, various theoretical discussions were raised among the art industry. Renaissance artists and theorists were preoccupied with the means and of various arts in the abstract. A debate was generated from the Italian Renaissance in which form of art (such as painting, sculpture, poetry, music and architecture, etc.) has supremacy on all others. The discussion of the relative merits that whether painting or sculpture was more convincing and descriptive form of art got unfolded in both Italy and the Low Countries like Flanders and the Netherlands. From that period, the example of paragone between painting and sculpture mainly involves paintings that emulate sculpture and sculptures that emulate painting. Both painters and sculptors made an interesting statement claiming about the superiority of one art over the other. These debates had laid a solid foundation of the modern system of fine arts. The ultimate goal of art at that time is about imitation, thus, the best means to arrive this goal had a more theoretical interest. On one hand, as a notable, one-of-a-kind sculptor from that period, the “divine” Michelangelo has proposed his treatise that sculptures champion the superior on paintings. He expressed his statement with the support of his increased engagement on sculpting. For the issue is

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

This paper gives a comparative visual analysis of two artworks from the same period; “David Slaying Goliath”, by Peter Paul Rubens, c. 1616 and “The Sense of Touch”, by Jusepe de Ribera, c. 1615-1616. Despite the fact that the artworks are from the same period, they are both unique in terms of details and the themes they represent. This visual analysis compares and contrasts the way in which the artists employed the different characteristics of the baroque movement to come up with their unique compositions.

“Zeitgeist is a word that comes straight from German — zeit means "time" and geist means spirit, and the "spirit of the time" is what's going on culturally, religiously, or intellectually during a certain period. Think about how something like Woodstock symbolized the 1960s: Woodstock was part of the Zeitgeist of the 1960s. Whatever seems particular to or symbolic of a certain time is likely part of its Zeitgeist.”

Martin Luther’s Protestant Reformation had really stirred the religious pot. In the early 1600’s, the Catholic Church responded with the Counter Reformation which propelled the Baroque movement and its artistic aim of making Catholic theology appeal to the masses. Biblical stories with drama and movement were some of the ways Baroque artists sought to engage the viewer. Baroque dominated most of the seventeenth century Europe and later developed into the Rococo style later during the eighteenth century. Begun in the 1700’s, the Rococo Era was art of the aristocracies for the aristocracies. It was technically flashy, but without deep thought or emotional drama, the Rococo celebrated the leisure activities of the upper class. The Rococo style is above all an expression of wit and frivolity. Rococo style signaled the shift from Rome to Paris as the new capital of culture and fashion in Europe. Both styles were influenced by political, social and religious factors, and there are profound differences between the two styles. For this essay, I chose to compare an Italian painting from the Baroque era with a French painting from the Rococo Era. The two paintings I chose to compare and analyze are Luca Giordano’s Martyrdom of St. Bartolomeo, and Jean-Marc Nattier’s Terpsichore, Muse of Music and Dance.

Talking about the Roman artistic environment of the early seventeenth century we can not forget to mention the conservative atmosphere created after the Council of Trent (1545-1563 ). The articles relating to the discipline in the field of visual arts were focused on the moral and

Furthermore, this paper will explore the particular stylistic and thematic features of Italian sculpture and Baroque period as a whole. For the Baroque period, coming right after the

Notwithstanding anyone specific expertise or knowledge of painting technique, each of us can quantify beauty as it relates to art in our own minds. We can see the growth of art and how it provokes emotion, understanding, and experimentation over time. Over the course of time, it appears that art, artist, and the lovers of the various periods of art seem to move beyond a name or basic aesthetics of style and venture into a deeper more comparative analysis of the work and its position in our culture.

A martyr is a Greek word referring to a person who suffers persecution because of advocating or failing to denounce religious beliefs, which may either be religious or secular in nature. The most common and notable deaths are those resulting from advocating Christianity. Christians were mostly persecuted through mass-slaughter under the command of Roman officials. It is however argued that it was not due to religion but political reasons since Christianity threatened state power. These persecutions were displayed as spectacular in the Roman’s arenas. This assertation of power was to masculinize the government. However much the persecutions were attributed to the Roman government, it is believed that Christians also played a role in the killing of their own. Christian persecution should

Opera, in good part, developed directly from discussions in the 1570s led by Count Giovanni de’ Bardi of Florence and his group of friends who constituted an informal academy known as the Camerata. Those discussions lead directly to the first operas: Rinuccini’s Dafne of 1598 with music by Jacopo Peri and Jacopo Corsi, Rinuccini’s Euridice of 1600, set by Peri and by Giulio Caccini, and Gabriello Chiabrera’s Il rapimento di Cefalo of 1600, set by Caccini. Among the many topics discussed by Bardi and his friends, music occupied an important place, and specifically the nature of ancient Greek music and the source of its emotive power.

The world of theatre arts possesses a rich and diverse history, in which lies one of the most unique and influential styles of performance: Commedia dell’arte. After emerging in 16th century Italy, Commedia dell’arte revolutionized theatre, most prominently with the introduction of widespread improvised performance and the newfound involvement of women in theatre. In this seminar, students will delve into the extensive history of Commedia dell’arte and its impact on performance arts. Why were great minds like Molière and Shakespeare inspired to include it in their works? How did the Commedia masks make their way into popular operas and ballets? Students will also examine the controversial effects of Commedia dell’arte

The Italian word paragone refers to a type of competitive comparison in an art-historical context. In 16th century Italy, due to the development of artistic practice and theory, various theoretical discussions were raised among the industry. Renaissance artists and theorists were preoccupied with the means and of various arts in the abstract. A debate was generated from the Italian Renaissance in which form of art (such as painting, sculpture, poetry, music and architecture, etc.) has supremacy on all others. The discussion of the relative merits that whether painting or sculpture was more convincing and descriptive form of art got unfolded in both Italy and the Low Countries like Flanders and the Netherlands. From that period, the example of paragone between painting and sculpture mainly involves paintings that emulate sculpture and sculptures that emulate painting. Both painters and sculptors made an interesting statement claiming about the superiority of one art over the other. These debates had laid a solid foundation of the modern system of fine arts. The ultimate goal of art at that time is about imitation, thus, the best means to arrive this goal had a more than theoretical interest. As a notable, one-of-a-kind sculptor from that period, the “divine” Michelangelo has proposed his treatise that sculptures champion the superior on paintings. He expressed his statement with the support of his increased engagement on sculpting. For the issue is imitation. “Every