Sometimes in the art world using similar subjects can result in very different works. Such an example of this is in the tale of the two Madonna’s. The first Madonna is by the Italian High Renaissance artist Raphael. This piece was completed by Raphael somewhere around 1505. This piece is oil on panel and currently is on display at the national gallery of art in Washington D.C. Nobody is positive why the piece was originally painted but at that time period it was common to give this type of gift as a wedding present.
Madonna of the long neck is another work of art with the subject being Madonna. This piece of art was created by Parmigianino somewhere between 1535 and 1540. The painting was originally commissioned for the church
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Madonna is a heavily religious figure and in the piece she is portrayed in a modern setting with modern clothes of the time period. This blend of religion and a modern setting is perfect for what Madonna represents, the blend of heavily and Earthly. In the background you can see the Church of San Bernardino. This is a clue to who commissioned the picture. Both Madonna and the baby have serene expressions along with warm and cool color combinations. In Madonna of the long neck the subject is Madonna holding a baby with a few onlookers around them. The painting has an unbalanced appearance with all of the onlookers on the left side. Parmigianino did this on purpose to show that an unorthodox image could still be beautiful and …show more content…
This Madonna is painted with High renaissance painting styles. Madonna is again painted as a biblical figure wearing traditional garb of the time period. The skin of Madonna and baby is very soft and the expressions a very serene. This piece of work is very symmetrical compared to the work of parmigiano and there is a very strong sense of nature in this piece. Baby Jesus is help in a loving manner in this work compared to the Parmigianino piece where the baby seems to be ready to fall to the ground. Both Madonna and child are equally proportioned in this piece and both Madonna and baby appear to be glaring at the same thing. Some believe that that are staring at the baby’s
It is a religious and realistic painting. The circle of stars represents the crown of immortality. In the painting, Madonna looks up to the heaven with her hopeful eyes. This painting is very romantic and full of emotion. The focal point is on the top of the head where is lighted and brightened up. The halo on her head and saturated cloth contrast the dark hue in the
One of the most effective principles Paolo de Matteis uses in this painting is his use of lines and invisible lines to direct the viewer’s attention to the child in his mother’s arms. The shepherds and their animals, the Virgin Mary, and Saint Joseph are all instances of invisible lines in this painting, as their outstretched hands and lines of vision are all pointing to the baby Jesus. For example, the three women and the child kneeling to the bottom right side of the manger are all staring or pointing to the upper left, toward Jesus. Moving to the upper right corner of the painting, the ox and the donkey are directing their gaze to the bottom left, once again at Jesus. The two men to the right of the animals also point in that direction. In the top and center, Mary and Joseph watch their child, creating yet another invisible line pointing toward the point of emphasis, while the angels
Many ages of art shine through Duccio’s portraying of Mary in Madonna Enthroned (fig. 6). Both being trained in the Greek manner, Duccio’s version of Siena’s patron saint is comparable to Cimabue’s Enthroned Madonna and Child with Angels and Prophets from the year 1280 2 (fig. 7). Duccio, however, took a softer
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
However, the desert scene and mountains suggest that this was painted in Southern California. In the background, one can see a man leading a pack animal, a woman, and an infant along a road towards the church, identified by the cross on the rooftop. There are no shadows to define form in the background. This is, again, a contrast to the shadows made by the Madonna in the foreground. The lack of shadows, however, does not make the background look flat. The Impressionist styled painting and the lack of detail in the background creates a distant look that gives depth to the painting. The numerous contrasts between the background and the foreground allows the artist to subtly draw the viewer?fs attention towards the foreground. These contrasts help grab the viewer?fs gaze and direct it to the most important part of the painting: the woman and baby.
The focal point of the painting is the woman with infant. This is shown by the lighting in the painting being directly on her, the bright red that she is wearing, and the circling of the putti around her figure along with the majority of their gazes being directed at her. The bright light directly behind her and the infant could possibly be coming from the sun behind the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it is the infant’s halo and representative of his divine nature. The overall piece is not overly dark but the lighting seems to be most focused on the woman, infant, her other children, and the flying putti. This is an example of tenebrism.
It also worth noting that the fingers of the Virgin Mary were longer in length than that of the average woman as well. This bolsters evidence to the theory that the elongated arm of the child in the photo was created in a purposeful manner. As noted in the previous paragraph, the elongated arm not only conveys a sense of maturity, strength, and age that is unbecoming of a child this age, it also yields a sense of piousness. During this period, artists commonly employed the technique of elongating the limbs and physical features of certain subjects to emphasize their overall importance. As noted by anyone familiar with the tradition of Christianity, these two figures are of great importance within the religion. Thus, the use of elongate elongated limbs and fingers is logical in this context.
Madonna and Child with Angels and Prophets, an alter piece standing some 12 feet and 7 inches tall, was created around 1280-1290 A.D. for the Church of Santa Trinità in Florence, Italy and is now in the Galleria delgi Uffizi Florence. This iconographical piece was constructed through tempera and gold leaf on wood by Cimabue, an Italian painter who brought classical tradition back into art during the 13th century, when Italo-Byzantine style was dominant, paving the way for art in the Renaissance period.
The Painting Martha and Mary Magdalene is one of the many masterpieces in the DIA’s collection in Detroit. Although there is much more to understanding a work of art then just looking at it. In order to understand a piece, you have to understand the Artist, the time period, and the symbols in that painting that may have very different meaning today.
The woman portrayed in the painting is the famous movie star Marilyn Monroe. The photograph that Warhol used for this piece is a publicity still from the 1953 movie Niagra.(Museum of Modern Art) Marilyn Monroe has always been known, and always will be known as our nations most famous sex symbol. Her personal life was even more interesting and exciting to the public than her films. She was married several times, and the mysterious events surrounding her death were rumored to be the result of an affair with President John F. Kennedy. Warhol chose the year of Monroe's death, declared a suicide, to create this piece. Her troubled personal life and untimely death only made Warhol's painting more powerful. He displays Monroe at her best. She is young and beautiful with styled hair and a made up face-yet inside she was empty. By glorifying her, Warhol shows her vulnerability. She was an icon to millions, yet the constant demands from fans and the media drove her into the downward spiral which ultimately ended her life.
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
The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the
The style and the form of these two paintings reflect the development of the artistic techniques during the Italian Renaissance. While both reflect a Biblical theme with a central focal point of the Madonna and Child, “Madonna Enthroned” has a key image that is best viewed from a central position and “Madonna and Child…” has a greater degree of importance over the majority of the surface of the canvas. In “Madonna and Child…” the viewer does not perceive that an image is being forced upon them as is found in the work by Giotto. A use of light and space is also key to preventing the Puligo piece from being “forced”, where the organization of distance visibly removes the viewer from “Madonna Enthroned” while drawing the viewer into the painting in “Madonna and Child…”. Color also serves a similar purpose, where Giotto’s work is monochromatic but ocher while Puligo’s work carries a greater expression through the detail involved.
In the piece, San Zaccaria Altarpiece by Giovanni Bellini, the Madonna and Child are depicted on their throne. There is someone playing music while and four saints are standing around the throne. The scene is peaceful, as the Virgin holds her child, and the saints seem to protect her. Bellini is mostly recognized for his work in the late-fifteenth and early-sixteenth centuries, because of the religious images and sculptures. Most of his work included the Virgin and Child, and the San Zaccaria Altarpiece is no different. However, the figures are not the only thing that should be looked at, because there are some elements of architecture that are beautiful too. THe arches bring the eye to the center of focus, the Virgin and Child.
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