Empathic Response- Purple Hibiscus by Adichie, Chimamanda Ngozi.

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.

Indeed, this painting was, and still is so dramatic! To think that one’s beliefs can be so concrete

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

It seemed to me that I could hear the scream. I painted this picture; painted the clouds as real blood. The colors screamed" (Preble 52). Some people, when they look at this painting, only see

“Hieronymus Bosch was one of the most fascinating and puzzling artists in history- a unique artistic personality who nonetheless typifies the Renaissance era in the emergence of distinctive personal styles”, in the words of Fred S. Kleiner (257). The painting I chose do my term paper on is titled, The Arrest of Christ. Painted in the year 1515, by the artist Hieronymous Bosch, in oil and tempera on a panel. It currently hangs in the San Diego Museum of Art in Balboa Park. The Arrest of Christ painting depicts Christ’s peace transcending his circumstances and the balance between good and evil. In the first part of this paper I will give a formal analysis of the painting

Upon walking into Gallery 250 of Boston's Museum of Fine Arts, one will find on the wall a particularly eye-catching piece of art. The piece, set high on the corner of the wall encompassed by pictures depicting scenes from the life of Jesus Christ, is Giulio Cesare Procaccini's The Scourging of Christ. In this piece, Procaccini's masterful use of light and shadows in a technique called chiaroscuro dramatically portray the torturing of Christ, and it is this very application of chiaroscuro that immediately caught my eye. Through his masterful rendition of value, Procaccini successfully evoked within me a crushing sensation of agony. While I did not initially realize that the piece was one of Christ, research enabled me to witness how

“The image suggests a ruin in a classical landscape painting, a symbol of a broken-down system of belief” (Bloom 61). The “hollow men” do not have the faith to be judged and move on to “death’s other Kingdom.”

Borrowing from Hans Holbein the Younger, Wiley chooses another black male model to take the place of Jesus in the original. The black model lies horizontally across a long, flat table against a pale,green, fall leaf patterned background with light pink,white, plush blue and purple blooming flowers . Black males continue to be in use , the use of name brand clothing, body decoration, abstract background of a repetitive designed and the african american race are the similarities between piece (1) and piece (2). The eyes continue to look directly at the viewer, his mouth is open in a sense of awe; though, instead of the subject being fully clothed, he’s only wearing pair of navy blue ‘HANES’ boxer briefs. In replacement of the the jewelry from painting (1) this subject only has body decoration from tattoos and the brand name written on his boxer briefs. There are two tattoos that appear in painting(2), one tattoo of a rose covers the lower part of his upper arm above the elbow. Located in the banner tattoo below the roses , the word ‘MAMA’ is written in all capital letters. There is a second tattoo above the roses though it is very faint and more of an impression. The hand jester in Wiley’s piece matches the expression of the original of Hobein; slightly bent, thumb tucked and the middle finger extended, sending a message I think everyone can recognize. Wiley’s choice of

Salvador Dali’s painting, The Sacrament of the Last Supper (oil on canvas, 65 ¾ x 105 ½ in., c. 1995), has become one of his most iconic paintings from his “late” period. This painting portrays one of the most famous scenes from the Bible, the Last Supper, depicting the twelve disciples eating their final meal with Jesus. This scene has been created many times throughout history by many different artists. However, through Salvador Dali’s use of equal symmetry, the uncommon setting he chose and the interesting perspective and focal points, he was able to recreate a completely unique version of this common biblical scene while adding his twist of surrealism.

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

An in-depth study reveals mankind’s literal presentation of Mary to God for appraisal and judgment, rather than a simple depiction of her journey upward. The painting illustrates man’s—not God’s—physical act of lifting Mary up, creating a truly dynamic canvas. To do all of this, El Greco uses strong geometric divisions and hidden lines to take control of the viewer’s eyes, and sly manipulations of gravity and forces to create an image truly in motion. In the end, El Greco uses the painting’s overwhelming size and orientation to alter perspective and succeeds in tying the viewer’s fate into the scene itself.

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

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

Religious imagery is something that can be found in artwork all through the centuries. An anonymous world-renowned graffiti artist who goes by ‘Banksy’ places traditional paintings in public places altered to send an iconoclastic message about society and government. In this image he depicts a traditional figure of Jesus dying on the cross, but in his hands can be found shopping bags full of presents and candy. Jesus, an iconic figure in religious history, has been turned into a puppet to fit the mold of our consumer driven society. The rhetor presents an iconoclastic view that the integral commemoration of Jesus’ death and the religious aspects

Filial Piety is the main focus of the painting. In the painting, several different scenes are showed. One scene shows Filial Piety relationships in a “levels of a contemporary society”(Maxwell, 40). It shows a son saying goodybe to his parents. Another