Essay On The Beheading Of Saint John The Baptist

The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

As a formal analysis, this artwork has a figure in the center of the page, which can be assumed to be the focal point due to its positioning in the center of the picture plane. Also, this artwork is monochromatic, and the only color used is the hue green. Towards the top left-hand corner, there are darker shades of green, which make this part seem to be in front of the rest of the picture by using overlapping to convey depth. Also, towards the right side of the picture, the people seem lighter and appear farther away than the dark shaded buildings Additionally, since the figure in the center of the work is larger and more detailed than the other figures, it appears that the center figure is closer to the viewer.

The focal point of this painting is the tree that lies central on the canvas. It is also the foremost feature in the picture with the town, sea, and intense foliage falling far behind

In terms of subject matter, both works are visual depictions of the crucifixion of Jesus Christ. In each painting, Christ is the central figure, surrounded by two groups of figures. On the left, a group of women that includes the Virgin Mary mourns over the dead body of Christ, while on the right is a group of soldiers and other lamenters. Both works feature a rocky landscape on which the figures are positioned. Encircling Christ are several angels whose gestures of lamentation echo those of the figures below. Highlighting the severity of each scene is the blood that pours from Jesus' wounds. The blood from his feet drips onto human bones that are embedded in the rocky terrain below. The skull serves as a "memento mori," or a reminder of death, an idea that has been repeated in several other depictions of Christ's crucifixion.

With the use of all the elements of design, Sir Peter achieved various other principles of design. Balance, for instance, is established through the placement of the forms in the piece. Although more lions are on the left side of the piece, the lions on the right are much more bigger than the left, with more details and also more action to their forms as well. The main figure, Daniel, is also not entirely centered, which helps balance the painting

As the viewer, when you look at this woman, it makes me follow her gaze to what she looks at which I believe to be the reason as to why the artist painted her in that way. From my knowledge on this scene from varies movies, soldiers would come and break the legs of those crucified to speed their death. When they came to Jesus, they could not break his legs as he was already dead. Instead, a solider pierced his side with his lance to assure themselves that he was dead. In the Last Judgement panel, you can see that the artist divided the painting into three different sections which depict heaven, earth and hell. In the section where heaven can be portrayed you can see a couple of angels above Christ blowing on their horns and Christ, himself is sitting in the center of many angels and saints. Jesus still appears to have the wounds of his crucifixion and the wound received from the soldier’s spear, but instead of being naked, he is wearing a red robe. To the right and left of Jesus, you can see Mary (left) and John the Baptist (right) kneeling next to him and praying. Jesus, Mary and John the Baptist have a yellow glow surrounding

It is representative of Spring and celebration of Easter. This piece features a section of snow covered woods and a church in the background with angels walking towards the church. In the middle ground, we see a female figure rising up from a bush next to trees and an object that looks to be a blanket that blends with the light ground. There are not thick outlines to the objects of this piece but rather is thin lines that help separate the figures and the background more clearly. The colors of this piece are mainly muted pinky reds and bluish purples. This piece is lit from the back with the light coming from behind the angels. The texture of the trees, wings, and the figure are implied by the way the lines are shaped. The slight blur to the background help to further push the figure forward and create the illusion of depth. The eye is guided along the piece by the arc of the tree trunks, bushes and the poses of the figures and the asymmetrical composition. This piece captures a moment frozen in time. The figure is captured mid-stretch and is listening to the march of the angels.

The figures in the painting take up most up the space. The background is not emphasized. St. Peter’s accuser and the soldier are very close to each other and St. Peter is further away from them, indicating that he is not in cahoots (USE A DIFFERENT WORD) of the accusations. The textures in the clothes of st peter, realistic color. The painting looks more of a picture and the onlooker is right there in the scene too. Oil on canvas provided for the painting to come across more

The illustration can be viewed with a cautionary message to the audience. The interpretation taken is that God is watching to see your downfall, not your redemption. So when

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 title of this artwork is Virgin and Child with the Young Saint John the Baptist and Angels. It was created by François Boucher in Paris. It was painted in the year 1765. It was painted with oil on a canvas. This painting is housed in the Metropolitan Museum in New York City, New York. In this painting, Boucher wonderfully depicts the Virgin Mary and the baby Jesus, along with a toddler Saint John the Baptist and a lamb, having a picnic together. They are being watched over by five small cherub angels up in the heavens.

The black lines that seem to frame the woman into a sort of foreground are also present in the implied background, thus melding them into a singular seemingly flat space. The blending of large areas of color leave the space open, and the intent lines of color are the only implication of space or form. “Space is made ambiguously expansive by means of the slight blurs and partial erasures in and around the figures,” (Ashton). This juxtaposition of open and defined spaces easily mirrors the wily nature of women to contain some sort of depth, while at the same time being of shallow character. Lewison makes note of this contrast saying of the woman that, “she is self-consciously seductive, challenging the male to approach while at the same time remaining aloof,” (146). Although there is an understood figure and a somewhat implied background, the work still has the ability to be flat at one glance and especially deep upon another.

“Under”). One could mistake that the focal point is the little figure under the birch tree who is a priest. However, the main point in this landscape is all about the birches. The reason why one could say so is because of all the visual elements such as: the birches are in the middle of the painting; they are also the most lighted objects in the painting (light is shining in the form of an oval) (National Gallery). Due to the levels of lightning one can see that the picture is divided into three horizontal parts: the top (dark, but not as dark as the bottom of the painting); the middle is the lightest; and the bottom is the darkest. This means that he used what he learned about the Dutch style and mixed it with his personal style thus we have a whole new way of seeing his point of view.

the painting is a synthesis of numerous sketches made by the painter a year earlier in Collioure,