Giuliano Bugiardini’s, Madonna and Child with St. John the Baptist, Northern vs. Southern

Through art, man started to change their view on themselves. Paintings during The Middle Ages focused a lot on God and religious views, but not a lot on man itself. During The Renaissance, however, paintings shifted to being much more realistic with humanistic features. Berlinghiero’s Madonna and Child from 1228 shows a woman holding a small child (Doc. A). There are a few facial and body features added such as on the nose and the hands. It shows Mary holding her child, showing that he is “the way to salvation” (Doc. A).

Differences between the Italian Renaissance and the Reformation can be seen in art. Renaissance art exhibited a secular spirit. Artists, for the first time since the antiquity, painted secular themes. The human body was portrayed as being beautiful in its nature and glorified humans, rather then God. Art was dynamic and vivacious, often seeming as though it was in movement. This portrayal both was a reaction to the iconographic God worshipping art of the Middle Ages, and caused a reaction in Protestants, resulting in their more conservative style. Nude bodies, often seen in Italian Renaissance paintings and sculptures, are never seen in those of the Protestants. Their religious beliefs and way of life, in many ways countering that of the

Masaccio’s famous religious painting, “The Holy Trinity”, is known for the engagement of linear perspective to create an image that goes beyond just paint on canvas, (or should I say wall?) by creating the illusion of depth. This painting addresses many religious concepts by setting up different levels and layers in the constructed space. The characters depicted are made up of four groups of human figures, which include the Trinity (God the father, Jesus, and the Holy Spirit), the Virgin Mary and Saint John, a pair of donors, and a skeleton on a tomb at the bottom of the picture. There is an apparent point of separation, which is made clear due to each group being on separate levels. Their difference in power is fundamental feature in

The Renaissance began in the 1300’s and brought with it many new ideas and ways of thinking. The main one of these ideas being humanism, or that the best that a man can be is greater than the idea of theology. The Italians began to spread this idea and it began to grow. The Italians decided that the best way to express and spread the idea of humanism during the Renaissance was through their sculptures and paintings. This can be seen in many works of art from this time period such as the Mona Lisa by Leonardo da Vinci, The School of Athens by Raphael, and Michelangelo's David.

Throughout the Renaissance period, artists first began to experiment with oil-based paints, mixing powdered pigments with linseed oil. Popular subject matter included Biblical characters and subjects from Greek and Roman mythology. Renaissance art placed a large emphasis on the importance of the Madonna in art. Taking inspiration from classical Roman and Greek art. Making everything seem more life-like and real. P.337 (Document B)

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.

Aside from linear perspective, Calabrese incorporates other geometrical forms throughout the composition. One is the circle at the foreground of the painting, which Calabrese offers the audience to complete. More outstanding is the triangle that occupies the majority of the space. John’s body, parallel to his staff, begs the viewer to trace the triangle from his eyes, across the woman and the lamb in the foreground, up the staff, and through to his hand. This triangle is significant in its symbolism of the Holy Trinity: God the Father, God the Holy Spirit, and God the Son. The message here is clear; through Jesus, the lamb, one will be saved. It is also interesting that Calabrese places John between the lamb and his hand. It coincides with the paintings’ function as an altar piece in that John serves as an intercessor to the Divine. Through him, one has access to Jesus, and therefore God. The geometrical lines and shapes add to the painting’s dynamism and contribute to the optimistic promise the painting conveys.

Development in art often follows two tracks: development over a period of time and also differences in regional development. Both changes are seen in the comparison of Barna di Siena’s Mystic Marriage of Saint Catherine and Rogier van der Weyden’s Saint Luke Drawing the Virgin and Child. Originating in Italy, the Renaissance began in the mid to late 13th century. Barna da Siena was one of the early Renaissance artists influenced by Duccio di Buoninsegna and Simone Martini. Barna di Siena’s painting is dated around 1340 and Rogier van der Weyden’s painting was painted nearly a century later

The initial focus of the painting is Mary as a whole, or perhaps specifically her face and outstretched arms. El Greco, however, uses a Cartesian grid to relocate the focus to the geometric center of the canvas, a clearly intentional move necessary to create the basis of Mary’s upward motion. “Assumption” is strongly divided into four quadrants. The heavens, occupying the upper-half of the canvas, are divided in half vertically by Mary’s body, while the Earth is split by a clear part in the crowd that extends directly downward from that same line. The divine and mortal realms are separated fittingly by a line of clouds vertically centered on the canvas. The result is a crosshairs locked in on the area just below the Virgin’s feet—the area that will become the most important part of the canvas. The

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

Art during the Italian Renaissance differed from art during the Middle Ages. The two have contrasting characteristics and concepts. To the people in the medieval world, religion was their life. Everything in daily life focused around the church and God (Modern World 164). Medieval culture influenced the arts; this was evident in the religious themes. During the Italian Renaissance, painters and other artists focused on the portrayal of a more humanistic way of life. Renaissance artists’ work portrayed realism with “lifelike human figures in their paintings” (Modern World 164). Renaissance artists wanted to express ancient Greek and Roman cultures in their work (Modern World 162). Italian Renaissance

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 Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold