Idealism In The Vesperbild

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

The sculpture portrays the God of Harvest, Dionysus, with his loyal satyr follower, Pan. A considerable amount of detail when into the carving of Dionysus; the multiple grapevines in his hair, his ceremonial staff Thyrsus, the goatskins and the cup of wine he’s holding are all symbols of Dionysus. The composition is very asymmetrical, and creates a contrapposto arrangement, which is distinctly Grecian (Gardner). It was carved out of beautiful fine marble, which also had another purpose in the way of making this piece of art last for many years. Along with the tree trunk between the two men providing support at the base, and the elongated arms providing more structural stability. The God’s head is even reinforced by his hair to make sure the head doesn’t break off. This sculpture is visually and aesthetically pleasing, but doesn’t serve a useful function, like textiles or furniture. Therefore, it is considered a figurative piece of art, which art that is very clearly modeled after real object or person(s), and is therefore representational

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

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 sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

Another one of Michelangelo’s Renaissance masterpieces known as Pieta was created between 1498 and 1499. This masterpiece was displayed in St. Peter’s Basilica in Vatican City. The Pieta depicts the Virgin Mary holding the body of her son, Jesus Christ after His crucifixion. Like Michelangelo’s famous sculpture David, his masterpiece Pieta has also been re-created many times by other painters and sculptors.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

The quest for the ideal is a phenomenon that many people attempt to achieve. As we all know, the quest for the ideal is difficult and complicated by personal experience. The poems, “The Story” by Karen Connelly and the “The Love Song of J.Aflred Prufrock”, by T.S Elliot, as well as the essay “Kant’s Beauty and the Sublime” by Maureen Rousseau explore the peril inherent in the quest for the ideal, which is that in our search for beauty we risk encountering the sublime. The danger of the sublime is that we cannot comprehend the magnitude of the realms of things that are sublime. We ask ourselves why someone would want to risk encountering the sublime. Well, with great risk comes great reward and that is the beauty we

He took the body of Michelangelo’s Pieta (1500) and used it to create the body of Saint Teresa. However, Saint Teresa is clothed in flowing garments that depict her inner turmoil whereas Jesus is only wearing a cloth. The limp body of Saint Teresa demonstrates that she is giving her life over to God as the angel prepares to pierce her heart with the arrow. It represents that she is passing from one life into the next, a life full of God and the Holy Spirit, much as Jesus is passing from life on Earth into Heaven. Bernini also uses light to illuminate the body of Saint Teresa just as Michelangelo has done with Jesus. They both use light from the surrounding scene, but the difference is that Jesus is reflecting the light from around him due to the polishing and smoothness of the marble while in Bernini’s sculpture, the light comes from a window above to illuminate her face rather than her body that is clothed and creates shadows and

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.

El Greco’s Lamentation of Christ is “a translation in paint of Michelangelo's late sculptured group of the Pietà in Florence Cathedral, at the time in Rome. The pattern and the feeling are the same. The figures of the Dead Christ, His Mother, Saint Mary Magdalene and Joseph of Arimathea make one compact group. Michelangelo achieved this by his new treatment of form; El Greco by paint, by employing broader, more continuous passages of color. The more vivid colors of Rome combine with the richer palette of Venice to convey the intensity of expression demanded by the subject. The horizontal composition of Venice, more suited to a narrative type of subject than to the single image, is given up and is only very rarely found appropriate in Spain. Michelangelo's Pietà group was not the only source on which El Greco drew: the arrangement of Christ's legs and his outspread arms, no less than the idea of viewing one of the two bearers of his body from the side and the other from behind, derive from Michelangelo's drawing for Vittoria Colonna, in which, as in El Greco's painting, the Virgin is placed behind and above Christ.” (Web Gallery of

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

The artist, Robert Campin and his disciples, incorporated the patrons of this piece, on the left panel. The two figures pictured were the patron and his wife, which was supposed to connect the viewers with the piece and Christianity as well. The trend of making the artwork more realistic appears frequently, and artists did so through making the holy figures more humanly. Looking at earlier pieces created in the Middle Ages, the Virgin Mary, Saints, and other holy figures were depicted as on a higher, more heavenly level. Artists would elevate the feet, have them facing away from the viewer, and be depicted as highly stylized. However, as shown in The Annunciation Triptych, Campin and his workshop aspired for the viewers and the general public to feel more connected to their religion. Altarpieces were used commonly in early European’s homes, leading the artist to create a typical household scene in the second panel where Mary and the angel were pictured. Thus adding to the connection between the viewer and the Christian religion. Another altarpiece, the Isenheim Altarpiece, shares similar