Essay about Joan Of Arc By Jules Basten Lepage

Aaron Douglas’s piece titled Aspiration is oil painted on canvas by Aaron Douglas. All the flash lights in the dark night are what caught my eye first. When I divide the order of paintings into upper, middle, and lower, I feel that there is a higher ruling class living there. Two men in the middle and one woman each of three figures is holding an object in their hands that might symbolize different subjects of something and dreams of the life of the ruling class through the object. Three people in the middle are looking at the lights or building ahead. It looks like they are trying to reach the city on the hill and dream for the future ahead of them. And those three figures depicted had been escaped from the chains that hold the people under the three figures. And those people down there are also try to escape from there to find freedom. And also shows as what most of them dreamed of being.

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

In the painting there is a fair balance, as every character except Mary is on the left side of the scene, but they are all pointing and looking towards Mary. So, while the focal point of the scene is obviously Mary, there are important figures and symbols on all levels of the picture. Also almost everything in the scene has at least some significance, and none of the figures are independent and, rather, are in union with each other.

Joan of Arc was a powerful military leader and a skilled warrior. Now St Joan of Arc is considered a saint and a martyr. The influence left by Joan’s life was an inspiration to all. France was forever changed by the empowering presence of Joan.

Within the painting are six individuals. In the middle is Madonna and Child. To the left is Saint Francis and John the Baptist, and to the right; Saint Zanobius, the Florence Patron, and Saint Lucy. These individuals are equally placed in the foreground of the painting, bringing our attention right to them, however there is a group of two that is the most important. If you look at the gestures of

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.

In the year 1412 , Jeanne d'Arc, Joan of Arc in English, was born to Jacques d'Arc in the village of Domrémy in northern France. A love for the catholic church was instilled in the young child and continued

All the figures in the painting have different expressions on their faces. For example Mr. Columbus starrs dirrectly at the group of coucil men sitting infront of him to convince them of the new world he had discovered. He stands infront of the crowd, looking like a honorable man, with his chesting bulsging out and his right footing pointing forward. His left hand is holding a map, while the right firmly points at it. There is a concil man sitted next to where Christopher stands, looks down at the map to validate Mr. Columbus agruement. There are three figures standing on the left excluding the king and his guides. These men seem so suppresed by what Columbus is telling them, that one of them grab the other firmly on the shoulder to perheps ask him how all of it is possible. The king on the other hand opens his month wide in disbelieve and his hands lift up at about a 30 degree angle, as if he was attempting to stop Columbus from fabricating more lies. On the far right of the painting, there is a boy with what appears to be a map that he is showing two men on his right.; they both starr at it while the other lean forward with his hand placed under his chin. Human drama remains me of Giotto style in Italy 1400-1500. He was the first artists to incoporate human drama into his work by including little details of gustures and emotions. This very artist was great at expressing different types of emotions on the faces

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 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.

Spectacle and threacality are the use of light and shados to create a spot light effect, a term knows as tenebrism. This effect mainly focuses on the on the human drama and main characters of the story. When looking at the painting you will see that the background and the surrounding corners are very dark and shadowy in color, however the chief priest sodiers dressed in balck donot seems to dispear. The artist used bright and vabrime colors to reflect not only on the faces of the figures, but alos on their skin and clothing. The skin of the men in the artpiece glose in the spot light effect, allowing bright colors to contrat from dark once. Another attribute of the stylistic period is human drama. The man standing behind Christ has his hands up with his mouth wide open as if he was screaming for help. His rope fies over the figures heads suggesting motion and desperation. Jesus is the second figure on the left with a red and blue gown on. It's amazing how the light different parts of his face. The details of the wrinkles on his ford head and the position of his eyes suggests street, fear, and disbelieve. He crush his hands together showing that his user pressure and tension. The third man on the left of the painting appears to be Peter, because he seems to be protecting Christ from being arrested. Peter's facial and body expression display anger and the

The title also shows his appreciation for Joan’s morals. He portrays Joan as the small part of her being. She was guided by angels and religion, and that explains why she is not the focal point of the painting. She’s a mere asset to the painting which is focused on the three angels. With the angels as the focal point of the image, it creates a different atmosphere which also changes how the painting is interpreted.

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.

In the first painting there are seven figures that can be identified through their clothing. The more colorful and vibrant the piece of clothing was the more money it cost. Due to this, others around you would know of your social standing based upon your attire. A young man and woman are to be wed, and in the first piece the lawyers are drawing up the marriage contracts. The woman is to be married in to a more prominent family. This can be seen by comparing the clothes of the fathers as well as the family tree the richer father holds.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink