Marc Chagall's The White Crucifixion

The quality and quantity of details in Adoration of the Mystic Lamb are embodied by van Eyck’s mastery of oil, which suggests that his altarpiece is the greatest representation of Christianity in a piece of art.

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.

“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

2. There are many people included in the artwork. I can see about twenty one people and some of there faces. There are two people in the middle and their names are Jesus and Judas. They both appear to be kissing. Judas's arms are around Jesus's neck. There is a soldier next to them. There is a guy in a pink robe pointing at Jesus and Juda.There are people surrounding them with sticks and some had torches. Since they are carrying fire it is safe to say that it is night time. Some of those people are followers and others are enemies of Jesus. They are all wearing robes. There is one person blowing on a white horn. All of the people in the painting are bare foot. Some of their expressions on their faces are anger. On the guy the guy on the left who is wearing blue is Peter. A

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.

This painting consists of two small panels in which one panel depicts the crucifixion of Jesus and the other portrays scenes that associate themselves with the Last Judgement. In the first panel you can see a crowd surround Jesus during his crucifixion. In the background, you can see a clear picture of Jerusalem. On the bottom you can you see five people that appear to be

“Virgin and Child,” “Main Street U.S.A.,” “The Piano Player,” “The Tree of Life,” and “Sophia’s Mercurial Waters,” and all represent religious icons that are Christ or illustrate young girls taking on the role of the Virgin Mary. Out of these six pieces, the “Main Street U.S.A.” displays the most provocative imagery using the religious icons. A bleeding, beaten and crucified Jesus is riding a 1950s bicycle while a young girl sits towards the front of the painting waving the American flag at him. This painting displays a bit of dark humor, and how the world turns religious symbols and people into humorous and sellable icons. The image of Christ after the crucifixion is one that is seen in the much religious artwork.

Christ with Symbols of the Passion by Lavinia Fontana is a small but interesting piece. It depicts Christ being supported by two wingless angels between two wingless angels carrying the cross and two wingless angels holding the column that Christ had been tied to after his arrest. At Christs feet are the other symbols of the passion: The crown of thorns, the whip, and the stones that were cast upon him. In the hand of one of the angels carrying the column are the nails that were used to pin Christ to the cross. At the bottom left corner is a what looks like a gravestone or a carved tablet signed and dated by the artist. They appear to be on a path entering a wooded area and a mountain can be seen in the far background. The subject of the piece is “a scene that does not occur in the Christian Scriptures” (The plaque accompanying the piece) but what makes this piece so interesting is the style of which it was painted. It can’t be stated as a full manneristic piece, but it can be said to have mannerisms main features of unnatural proportions, affected poses, spatial ambiguity, contextual ambiguity, compositional complexity, unnatural palette, and high anxiety varying degrees.

Throughout history religion has been taught by art. The Christian religion especially, teaches about their religion through stories or parables. Some of these stories have been turned into art to further the understanding of the story. Many Christian artists have showed Christ’s life through paintings. Carl Bloch had the opportunity to paint the life of Christ for the Frederiksborg Castle church. They showed his birth to the Virgin Mary and his death on the cross. These paintings also show what he did on earth. Christ taught and healed many people. Some of his paintings are alter pieces for the church. The size of these paintings invites its viewers to experience the story in the painting and apply it to themselves. In the painting Christ Healing at the Pool of Bethesda by Carl Bloch, it is portrayed that even in times of darkness and despair Christ is there to help people.

This artwork is a Bohemian design painting. The artist shows the impact of naturalism through visual art by painting human figures and expressing a dramatic event . The painting shows Jesus hanging on the cross, with the two thieves on both sides. Above Jesus and the two thieves are

Similarly, to Vision After the Sermon: Jacob Wrestling with the Angel, is a large figure that intersects the center of the painting. Jesus is shown being crucified on a large brown cross. This brown, again, is harmonious with the overall painting. However, the cross brings Jesus forward and separates him from the yellow, green, and orange background. The women sitting beneath Jesus are rendered with subtle tones. This is useful because they do not take away from the main focus of the painting. The figures are also lightly outlined which highlight the continuing Cloisonnism style. This painting further proves how Gauguin sought to use a style of art that could be intangible. Gauguin pulls his viewers out of the realm of reality to create

Behind her head, a large painting of The Last Judgement is framed, putting the woman’s actions in “moral and religious” context. Vermeer’s use of oil on canvas allowed for the soft, painterly layering of glaze to juxtapose the luminosity of

Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic art, as well as many other periods within these central styles. In addition each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Norse art.Medieval art was produced in many media, and the works that remain in large numbers include sculpture, illuminated manuscripts, stained glass, metalwork and mosaics. Decorative arts, such as metalwork, ivory carving, enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture. Medieval art in Europe grew out of the artistic heritage of the Roman

This painting is a very religious work of art because the skull symbolizes the suffering of Jesus Christ. De

This major innovation that Georges adds to his Caravaggio inspired paintings would be showing the light source of the painting to the viewer, and putting the light source directly in the center of the piece. In his painting, Mary Magdalen with the Smoking Flame, Georges’ goal was to create a calm, reflective state of a follower of Christ. This painting shows Mary Magdalen, a repentive prostitute, putting aside her jewels and rich clothing to meditate on mortality while looking into a flickering flame. Georges creates subtle hints of religious meaning through items throughout the painting. The skull sitting in her lap refers to morality and the vanity of human life, the books of scripture refer to her following of Christ, and the scourge refers to the pain and suffering that Mary may have been experiencing in the past or during her