Giampietrino Analysis Essay

Through the study of the records of courts, both secular and ecclesiastical, which exists in thousands of European and American archives and libraries, a patient and careful researcher can reconstruct particular images of “the world we have lost” and of the people who inhabited that world. From this vast, largely untapped repository of judicial records, Gene Brucker uses the notarial protocols of Ser Filippo Mazzei, which contains the transcripts of the litigation in the archiepiscopal court and the catasto records, which provides information about Florentine households, to piece together the dossier of Giovanni and Lusanna. The story of Giovanni and Lusanna explores the love and marriage in renaissance Florence and uncovers the gradation of the city’s social hierarchy and the role of women in society.

The environment is less symmetrical with two different creatures behind her shoulders and the more random placement of leaves and the contrast of the yellow leaf behind her head. The background that seems like an unnatural melding of color.In his Image,Morimura attempt to more feminine air, utilizing the fiery red lipstick, blue-pink eye shadow, and blush to produce that effect.  Her neck appears uncomfortably long.  The repeated arched shape unifies the work by connecting the figure to the environment.  The placement of the bird unusual and draws attention to Kahlo’s facial

Abraham Lincoln’s Emancipation Proclamation, and the passing of the Thirteenth Amendment of the United States Constitution were historical milestones in which the ever controversial topic of racial equality was first challenged. In theory, these two movements laid the groundwork for a racially equal United States of America. A country in which every member, regardless of skin color, or race were to be treated equally under the eyes of the law and to one day be treated as equals within all realms of society. As historic and powerful as these movements were, they did

Chiaroscuro in this painting ultimately creates a sculptural characteristic to the woman’s nude figure. Chiaroscuro is an effect of contrasted light and shadow created by light falling from a particular direction onto something. The light and warm color of her body is in contrast to the dark background, and ultimately causes her body to stand out in the painting. The use of chiaroscuro gives the woman an internal glow, which surrounds the entire body, thus developing a stimulating effect on the audience.

Congresswoman Suzanne Bonamici was elected in 2012 to represent Oregon’s first district, which is located Northwest of the state. Bonamici is currently on two committees which are Education and Workforce and Science, Space and Technology. Her main priority as Congresswoman is to advocate for federal policies that can benefit working families a chance to succeed in the economy. Bonamici has been a big advocate in not only helping workers to become financially secure but also saving up for their retirement. Congresswoman Suzanne has been a strong supporter of raising the federal minimum wage, giving workers the opportunity to voice their opinion in their jobs, paid family leave and giving women the opportunity to have access to family

There is a spotlight on St. Peter’s face and half of his accusers face, indicating that the focus of the painting with light, that Peter is the main figure. Caravaggio uses light to portray a specific moment in the Denial of St Peter, the light shines directly onto Peter, half of the woman accusing him and no light on the soldier. The soldier is in the shadow but the light is slight directed on his back. With the light centered on St. Peter and his accuser’s face, the lines are contoured, to mimic reality in the pictures. The figures facial expressions, (emphasized on St. Peter) look more realistic. The lines and textures on Peter’s face, suggest that he is rejecting the accusation, as the lines in his forehead are creased as he shrugs up his eyebrows and St. Peter’s hands are placed inward. The drapery on the garments on the figures look realistic, but looked as if they were placed like costumes. St. Peter’s face is the one most accented.

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.

It was determined that the women in the portrait was most likely a freeborn, upper-middle class citizen of Rome. The portrait seems to have been a part of a funerary monument, a conclusion which was drawn due to the pattern of cleavage observed at the back of her head and the sides of her face. It was also observed that there was a

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.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

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.

Script: This painting of Paul Cezanne illustrates the unusual relation between a woman and the swan from “Leda and the swan”. Unlike many other portraits or sculptures, this painting does not intend to show sexual intercourse. Also, the background is not indicated the actual location. However, one common thing found in the painting is Leda’s face expression. According to the story that she was bound by Zeus’ spell, Paul Cezanne expressed her to be half-minded.

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

Mozart begins a harmony on a Major sixth chord and leads into a V with a seventh chord, giving a dominant to tonic feel. He further gives this effect by leading into another V with the augment sixth German chord that has been filled out with a perfect fifth and a major third above the A♭ bass. Though the augmented sixth chord is voiced unorthodoxly, it gives the same effect.