Does Being Older Mean Making More Money?

At the crest of the Church of the Gesù in Rome, an aureate burst attracts an equivalent infinity of attention to the infinity of light that it emits. Borne of Italian baroque painter Giovanni Battista “Baciccio” Gaulli, this aureate burst is the center of the illusionistic ceiling fresco Triumph of the Name of Jesus. It is initially unclear what is being beheld, but it demands attention nonetheless. By simultaneously depicting and inciting the spectacle of this aureate burst, Gaulli arouses a discussion of the nature of visual representation and the fundamental role of a viewer. Gaulli asserts his position as an artist and emphasizes the viewer’s duty to an image—and to an artist—by demanding the viewer to include themselves among the enamored

You are required to discuss a work by a 20th or 21st century artist, photographer, designer, architect, film-maker, philosopher or writer and show how this work reflects, contradicts or extends theories of and attitudes to visual culture current at the time of its making.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

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

In this essay, the difference between Northern Baroque and Italian Baroque styles of painting, the differences between a male and a female interpretation, the narrative differences, and the psychological dilemmas they present to the viewer will be discussed.

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

Back's use of rhythm is also highly inventive. The piece grows faster and faster as the notes build to a climax, giving the work its driving intensity. The beginning is almost stately, until the mood begins to change as a new, slightly darker voice is introduced. It is almost as if the 'speaker' of the piece has a thought he cannot get out of his head and his mood gradually becomes darker and darker. Yet still there is the vivacious soprano, even though the base continually intrudes upon the quick sounds with its pulsating, darker tone. Even listening to the work the first time, it is easy to understand why the texture of Bach's work is so often praised. "The bedrock of his art was counterpoint, the ingenious combining and reworking of separate lines of music" (Kemp 2012).

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

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.

Late adulthood is a time many people tend to suppress in their minds. Late adulthood is often considered a time of physical and mental decline, but in reality for many older adults it is a time of mental and spiritual growth. During late adulthood, people tend to start reflecting on their lives and what is really important. During younger ages, people tend to focus on things that may not matter in the future, and spend time worrying about things that are unimportant. Through interviewing older adults, younger people can learn several important life lessons and begin to appreciate the things that really matter in life.

The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.

As aging is a stage of development that cannot prevented, the question of “can one’s aging be more successful than another?” is posed my many. Researchers continually consider the differences between aging successfully, and aging unsuccessfully. As researchers work to complete their studies, many find a reoccurring basis of successful aging. A basis of successful aging can be set including: physical health disease free, chronic illness free, mental health disease free, among many others. The only problem with this basis is the difference from person to person in terms of what makes aging successful. As individuals age, their mental state is a large predictor of how the person will age. A positive mental state about aging, will have a more positive effect on a person’s aging process. Many factors may influence the positivity of aging, such as negative aging stereotypes and discrimination because of older age. These negative aging stereotypes include but are not limited to: older adults are not as smart, older adults are angry all the time, older adults are bad drivers, older adults are isolated and never socialize. In adult aging and development, having a positive outlook on aging will lead to better mental and physical aging.

     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

In regards to the decoration of Baroque music, amateurs often think that Baroque music is extremely ornamented. This practice is a more recently acceptable practice: scholar Ronald

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.