Essay On Lucretia

For my research paper, I decided to focus entirely around one piece of artwork conceived by Agnolo di Cosimo, or better known as Il Bronzino (1503–1572). Specifically, the aim of my paper sought to thoroughly analyze and interpret Bronzino’s Allegory of Happiness (ca. 1564), a work he produced during his advanced years. In Chapter 22, we received a mere glimpse at Bronzino’s magnificent work in that of Venus, Cupid, Folly, and Time (14th Ed., p. 634). This earlier piece (ca. 1546) was admittedly disconcerting, though, the scene certainly demonstrated Bronzino’s sheer aptitude as an allegorical mastermind. Kate also recommended to us in Lecture 22.6 that a mannerist artwork would be well suited for our research paper, considering

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use 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).

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

Throughout the Renaissance, many talented artists tried to express deep symbolism in their paintings, but no one came close to the ability of Jan Van Eyck. His paintings were so accurate and realistic that it was necessary for him to paint his miniaturists with a single strand of hair, on a brush. Jan's Arnolfini Wedding Portrait (1434) is so photo-realistic that it has been debated for decades of it's legality of a wedding document. This paper will help to understand Jan's extreme use of symbolisms and the multiple meanings of his Arnolfini wedding scene.

Throughout history people can see many of the developments and differences among cultures, through the artworks that were produced. This essay will carefully analyze, evaluate, and compare four distinct works, from different time periods and cultures. The works to be compared are: The Woman from Willendorf, The Bust of Nefertiti, Figure of A Woman, and Young Flavian Woman. Throughout this paper the style and function of each individual work will be explored, along with the cultural ideas presented in each piece.

During my visit at the Art Institute of Chicago this quarter, a popular and interesting piece of artwork that spoke to me in ways that no other artwork did was the, “Tarquin and Lucretia” by Tintoretto or the artist known as Jacopo Robusti. Tintoretto is also known as the one of the most well-known Italian Renaissance artists and became interested in painting at a very young age. This specific piece of artwork was originally created by Tintoretto during 1578 through 1580 and is an oil painting on a canvas. It has approximate size measurements of 68’ 7/8” by 59’ 5/8” and is classified as an Italian work of art. This painting takes place in ancient Roman times where the figure that is somewhat laying down represents Lucretia, who is the wife of an honest man named Lucius Tarquinius Collatinus (“Stories and Histories - The Rape of Lucretia”, 2016). The other figure that is directly behind Lucretia is Sextus Tarquinius or Tarquin, who is her rapist and the son of a dictatorial Roman king named Lucius Tarquinius Superbus. Subsequently after her rape, Lucretia tells her husband and father about the incident. In order to save herself from the guilt and misrepresentation of her reputation, she stabs herself to death (“Stories and Histories - The Rape of Lucretia”, 2016). In the article titled, “Illicit Arousal: The Erotic Subtext of Tintoretto 's Tarquin and Lucretia” within The Journal of the History of Art by Sabrina DeTurk, it is stated that Lucretia is seen to be “a moral

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Further analysis of the painting demonstrates that Giampietrino does not fail to include classical references from ancient Roman prototypes, as he paints the huntress in a contrapposto pose, with the weight of her body on one leg, the knee slightly bent, and the hip thrust to the side. In addition, Giampietrino utilizes directed lighting from the upper left corner in an accurate representation. Thus, the right side of the painting appears to be cast in a shadow when compared to the left side, emphasizing the shadow created by the bow on the forest floor. Furthermore, the use of chiaroscuro is utilized to highlight the chin of the goddess as a means to demonstrate where the light would reflect on her face, as well as on the left knee, giving

Leonardo’s sexuality was always an unclear construct. Regardless of whom he preferred romantically, many of his portraits are absolutely filled with sensuality. There is something so obvious, so crude, about Leonardo da Vinci 's portrait of Cecilia Gallerani that it might seem beneath discussion. The 16-year-old mistress of the ruler of Milan, Ludovico Sforza, is stroking an ermine. The creature is white, furry and bony. Scholars have written reams about this ermine 's significance as an allegory of purity. With its long snout and serpentine body, her pet looks unmistakably phallic – and her control of it suggests that Sforza has been tamed by his young mistress.

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.

Furthermore, in Luchian’s painting, the topic mention directly that the woman is

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this