Luca Signorelli's Lamentation Over The Dead Christ

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.

Giotto di Bondonne created “Lamentation” circa 1305. This piece depicts Jesus Christ removed from the cross as Mary the Virgin embraces Him. There are two figures in the foreground with their backs facing the audience. Dawning a new style of artwork creating a sense of depth. John the Baptist is seen flailing his arms backwards. Body gestures were stiff and stern in comparison to previous works. Bondonne is an early artist in “the revival of the visual arts” by painting a scene to suggest a story (Richards). For example, angels are captured flying in the distance watching the people care for the deceased Jesus Christ. They grieve in unison with the crowd down below. Bondonne successfully creates a feeling of three dimensions by including a cluster of people on the far left tucked away in the corner. The mass of people gathered around to offer praise for His ultimate sacrifice.

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

This oil on canvass depicts the moment when Christ, a divine spirit embodied in flesh, was born in Bethlehem. The painting is filled with all living things rejoicing as radiant beams of clean white light bounce from the birth and back to the heavens above. The painting is full of opalescent colors that bring a sense of calm. As you are drawn in your eyes reach the elegant curvature of the angel’s

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo was completed in 1528 and originally resided in the Florence Charterhouse as the main altarpiece. With it’s distinct iconography, the work was intended to show the public the raw suffering of Christ after his sacrifice and how those around him felt at the time of his death. It holds an uplifting and even hopeful tone with it’s “sour” color palette, a stable for the Mannerist movement.

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.

Jan van Eyck was active since 1422 and died in 1441. He was the most celebrated painter of the fifteen-century in Europe. One of his famous works is “The Last Judgment”. At first sight this work immediately attracted my attention. The painting’s stunning colors and the fact that it reminded me of a previous similar work I have seen, triggered in my mind. The material that is used is oil on canvas, transferred from wood. The size of this work is 22 1/4 *7 2/3 in. (56.5 * 19.7cm).

The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.

The Lamentation of Christ in a Cartouche with Flowers (Figure 1) by Daniel Seghers and Cornelis Schut was one of sixty-three paintings in the Northern Baroque Splendor, The HOHENBUCHAU COLLECTION from: LIECHTENSTEIN. The Princely Collections, Vienna exhibition held at the Cincinnati Art Museum from June 27, 2015 to September 20, 2015. This piece was a collaboration between Seghers and Schut. Seghers was responsible for painting the garland and cartouche. Schut was tasked with painting the central image within the cartouche. Collaboration on a painting is a notable quality of Flemish painting in 17th-century Antwerp the hometown both Seghers and Schut. Though this painting might appear to be the typical Flemish genre painting from the Baroque

Emotions such as sorrow, hate, fear, and love are what makes us human. These are what fuels our desires and marks our capacities. In Giotto’s Famous early renaissance painting entitled “The Lamentation”, or simply put as The Mourning of Christ we can see how he beautifully depicts human emotion all throughout the artwork (1). The Lamentation shows us the body of Christ surrounded by his mourners in which the center greatly highlights Mary as he cradles his son for the last time. In his work, Giotto’s portrayal of human emotion was raw yet powerful.

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

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

The top of the painting has barrel vault while helps the painting to be part of the sightlines. On the other hand Rublyob’s painting lacks the depth. In Masaccio’s painting, the attention to details is outstanding. Both paintings represents the three part of God or the Holy Trinity. In Masaccio’s painting Jesus is the center point of the painting but there are lots more going on in this painting. The background and around the Jesus has lot of small details that truly makes it a master piece. At the top of the painting there is God, the Father. Right under the God, there is Jesus, the son. However, the small detail that most people fail to pick up is the dove in between God and Jesus. The dove represents the holy sprite which looks like a collar or piece of the clothing God’s wearing. Rublyob’s painting has similar message but in a completely different way. In Rublyob’s painting it is believed that the God sent three angels to visit Abraham in men’s shape. However, by looking at the painting in detail it is actually the Holy Trinity. From left to right, it is the God, the son and the Holy Sprite. Jesus being in the center of the painting. In Masaccio’s painting the dove is looking down on Jesus in a way which shows strength and support. In the painting Masaccio’s really showed the pain Jesus went through. The tears in flesh and the pain shows in his face. The abdomen and the ribs showing the suffering Jesus