Luca Di Tomme's The Crucifixion

Imagine seeing the crucifiction of Christ. Seeing that happen would change everyone’s view of the world. Christ’s crucifiction affected many people, including His mother, Mary. Juan de Juanes, the artist, painted this scene realistically. This painting was made with oil paints on panel with long flowing strokes, which seemed to make it come to life. Juan de Juanes depicts many aspects in this painting such as historical significance, colors, and subject matter.

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:

Art is a particular form of social consciousness and of human activities, an important way for people to perceive, discover and improve life: according to the laws of beauty. It is the creation of tangible or intangible products containing great values of thought-aesthetics, cultural character, and emotions. In this sense, there are numerous types of art. Painting is one of the oldest forms of art on earth. From prehistoric times, artists not only used it to communicate, but they also used painting to entertain the viewers. Painting can be transformed, eliminating the tedium, fatigue, and stress in daily tasks to bring the joy. Fun in life or silence for the soul. In other words, painting is a language that communicates an artist 's ideas

“Hieronymus Bosch was one of the most fascinating and puzzling artists in history- a unique artistic personality who nonetheless typifies the Renaissance era in the emergence of distinctive personal styles”, in the words of Fred S. Kleiner (257). The painting I chose do my term paper on is titled, The Arrest of Christ. Painted in the year 1515, by the artist Hieronymous Bosch, in oil and tempera on a panel. It currently hangs in the San Diego Museum of Art in Balboa Park. The Arrest of Christ painting depicts Christ’s peace transcending his circumstances and the balance between good and evil. In the first part of this paper I will give a formal analysis of the painting

Upon walking into Gallery 250 of Boston's Museum of Fine Arts, one will find on the wall a particularly eye-catching piece of art. The piece, set high on the corner of the wall encompassed by pictures depicting scenes from the life of Jesus Christ, is Giulio Cesare Procaccini's The Scourging of Christ. In this piece, Procaccini's masterful use of light and shadows in a technique called chiaroscuro dramatically portray the torturing of Christ, and it is this very application of chiaroscuro that immediately caught my eye. Through his masterful rendition of value, Procaccini successfully evoked within me a crushing sensation of agony. While I did not initially realize that the piece was one of Christ, research enabled me to witness how

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.

In the art piece called The Last Judgment, a Romanesque sculpture made by Gislebertus, the artist uses principles of symmetry, proportion, balance and unity to display and tell the story of the last judgement and uses scale to indicate the relative importance of the figure. In the sculpture, Christ is positioned as the foreground central figure of the whole artwork. He is positioned in such a symmetrical composition that immediately draws the viewer’s attention toward him. The artist uses hierarchical scale to communicate differences of importance. Here, Christ is larger than everyone else to emphasize his importance and power. Also, the body figure of Christ is elongated yet still in proportion which points out his perfection. Closely examining

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 subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

() He is the artist responsible for painting the Inferno fresco in the Basilica di San Pwetronio, Bologna Italy. (Figure 2) This fresco carries many of the same formal qualities as the manuscript page with some major stylistic differences. The illuminated manuscript page is illustrated in a more abstracted and cartoon like way. his work is divided into two sections with Christ as the central figure and the mediator between the two pages. His torso is in the top panel while his legs extend below into the hell zone. He is wearing armor in this image and that may represent his power during the final judgment. The top register shows rows of pews that use linear perspective and face toward the Christ figure in the center of the page. The figures sitting in the pew appear to be normal people. There is one odd thing about this image though and it is that the devil figure is larger than Christ on the hierarchical scale. The focus of this image is the hellish scene in the bottom section. Directly under the Christ figure is a very large beastly satanic figure with a very large beard and blue fur. He is also seen devouring human flesh. His arms are forcing a person into his mouth. The legs are painted in a position that implies squirming. This is one of the many small details that bring this hellish image to life. The most striking thing about the satanic figure (Figure 3) is the upside down

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

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.

There are many different aspects to the mystery of god and many people believe in different things. Our understanding of the ideal representation of the wonder and awe in the mystery of god is the trinity where there are three aspects. Through the artwork of “Crucifixion” by Giotto di Bondone portrays God, is divine and Trinitarian. The mystery of God is reflected in the picture of “Crucifixion” painted by Giotto Di Bondone as the image explains the core Catholic Christian belief in the mystery of trinity of one God, three elements namely the creator, Jesus the Son and the Holy Spirit. Giotto di Bondone was an Italian painter and architect from Florence in the late middle ages.

I chose The Torment of Saint Anthony by Giovanni Savoldo (1520) to represent the Renaissance period because it signifies the transition from Medieval art to Renaissance art. Medieval art was mostly depicted in glass stained windows or sculptures whereas Renaissance art was shown through very detailed paintings. Giovanni Savoldo’s The Torment of Saint Anthony displays the contrast between good and evil (heaven and hell) through his use of light and shade. The contrast of good and evil is similarly shown in Gislebertus’ Last Judgement. Although both these pieces of art represent hell with evil demons and monsters, Savoldo’s painting represents heaven or paradise with a monastery which is symbolic because Saint Anthony is the father of monasticism,

The crucifiers would drive a stake into the ground when whoever was being crucified arrived at the execution place. Sometimes they attached the victim to the cross only with ropes. In that case, the crossbeam, where they bound a victim’s arms, was fixed to the vertical beam. They then continued to tie their feet to the stake with a rope. If the victim was pinned down by nails, he was laid on the ground, with his shoulders on the crossbeam. They would hold out his arms and nail him to the crossbeam, which was raised. The victim's feet were nailed down against the previously nailed stake.