Descent From The Cross Analysis

Imagine seeing the crucifiction of Christ. Seeing that happen would change everyone’s view of the world. Christ’s crucifiction affected many people, including His mother, Mary. Juan de Juanes, the artist, painted this scene realistically. This painting was made with oil paints on panel with long flowing strokes, which seemed to make it come to life. Juan de Juanes depicts many aspects in this painting such as historical significance, colors, and subject matter.

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

During the Spanish ruling, the Spanish mentality of conquest is that the role of women is to be a housewife and take care of the children while men’s role is to be the provider, worker, and protector of the family. Women were not given the right to work, own property, or attain jobs, without the permission of their spouse. The purpose of life for a woman is to marry and establish an alliance, ultimately creating a peaceful situation at home. Catalina vows to go against deeply ingrained gender norms; implanted in every society lives distinct gender roles for both men and women, with that there are specific ways that those roles can be violated or subverted. Catalina attempts to threaten the social order, as she asserts her power by dressing up as a man as it allows her better opportunities than appearing as a woman. Catalina's gender presentation of herself as a stereotypical male, being abrasive and quick to anger when anyone challenges her masculinity, demonstrates the minimal opportunities for women in Spanish society. Erauso assertion that the “nun’s habit becomes useless and I threw it away, I cut my hair and threw it away” demonstrates that the trappings of womanhood are not working for her. By becoming a man, Catalina succeeds more, due to the fact that men were granted better opportunities such as the right to join the armada where she sets sail for Spain, or the right to go to Madrid and meet with the King, or the right to gamble in Charcas.

In this essay, I will argue Catalina de Erauso’s experiences in Peru both confirm and challenge the expectations placed on masculine and feminine honor in early colonial Spanish America. For women to be considered honorable in colonial Spanish America, they either became nuns or they married and became women of families. (Milstead Lecture, 10/26/17) This meant they either devoted themselves and their virginities to the church and God or they devoted themselves to their husbands and children. An example of dishonorable women in colonial times were prostitutes. In the book Lieutenant Nun, de Erauso finishes her story with a threat to the harlots she encounters on the streets of Naples. “… and a hundred gashes with this blade to the fool who

Women only have their words while the the men in society have the ability to use force. Fists can beat words any day, “‘Daisy!’ shouted Mrs. Wilson. ‘I’ll say it whenever I want to! Dai-’ Making a short deft movement, Tom Buchanan broke her nose with his open hand” (Fitzgerald 37). Tom has broken his mistress’ nose, the women in the room squawk at Tom and help Myrtle with her now damaged and bloody face. Yet, not one truly punished Tom for his actions and even Nick never thought too much about this attack on

. The status of women in society throughout the adventure of Catalina de Erauso was deeply strict and firm. Spanish society was set by a strict code of

Colonial honor codes, both the traditional elite and alternative plebeian, supposedly dictated everyday life, but in reality this failed to hold true. Contestation of these rigid codes commonly occurred as society struggled to conform to the binary of moral and immoral, honorable and dishonorable, and masculine and feminine. Transgressions exploited the contradictory nature of the colonial system of power by claiming rights for the most oppressed, as evidenced with women finding powerful allies in the clergy. Working within the system yet simultaneously transgressing it, exemplified spectacularly through Catalina de Erauso, proved itself the most effective form of undermining the rules because it allowed one to validate one’s freedom through pre-established institutionalized structures.

In this painting, he is being accused by the woman to the soldier. Caravaggio portrays the story of the Denial of St. Peter, as told in all four Gospels (Matthew, John, Luke, Mark) of the Bible. When Jesus was arrested, he prophesied that Peter, his disciple would denounce his name

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

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.

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.

When I see the painting the shape is symmetric in the sense that there are the same amount of people on both sides of Jesus. The genre of this painting is Christian art.There are also four panels on both sides of the walls. In my opinion, the target audience that this painting was intended for are those who are believers of Christ. I feel this way because I think that this painting portrays the event that is talked about in the bible in the scripture Matthew 26, verse 21 where Jesus says “…"Truly I tell you, one of you will betray me.". He then continues in verse 23 saying, “The one who has dipped his hand into the bowl with me will betray me”. In the painting, you can clearly see the man two seats away from his right reaching for the bowl at the same time as Christ. This event lead to the Holy Eucharist, also known as communion or the Lord’s Supper where Christ takes the bread which was to symbolize his body and wine which was to symbolize his

There are few examples throughout the text; however, most of them were pride-driven. Following quotation is a proof of such statement, “[M]y companion, with plenty of people around to hear it, told me I lied like a cuckold. I drew out my dagger and ran it to his chest” (Stepto 22). The man offends her, and she kills him having no regrets or second thoughts. It is a matter of her honor to punish a person who is speaking ill of her. Naturally, no one wants to be insulted by anyone and it is righteous to stand up for oneself. Nevertheless, her behavior is radical; she kills several men, excluding her war victims, for the reason of being insulted. It seems to show honor and pride was an important part of being a man in Europe during Baroque era. I do not know if Catalina was more comfortable identifying as male, female, or neither; however, it is hard for me to imagine her killing a man for insulting her while being socially perceived as female (or any other woman for that matter). Girls were broad up to become wives or nuns, and boastfulness was not considered a desirable quality for any of

Carlo Crivelli, in his piece Pietà, depicts a highly emotional scene in which Mary, Mary Magdalene, and John the Baptist mourn the death of Christ, who has just been removed from the cross after his crucifixion. The moment Crivelli captured in this painting seems to be the first moments that Christ has been returned to his loved ones. There is movement and intense emotion in this moment. Mary has thrown herself around Christ’s body and pulls him towards her. Mary Magdalene holds Christ’s left arm and seems to be bringing it towards his body as if still in the midst of receiving him from the foreground into the mid-ground where the mourners are.

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he