Netherlandish Triptych Case Study

It was during the Middle Ages (300-1000 AD), that various distinctive forms of art began to emerge in western Europe. A variety of significant mosaics, buildings and other forms of art came from this time that continue to be analyzed in the present. In the book Early Medieval Art, Lawrence Nees successfully provides an intricate interpretation of these various art forms that developed in this time in history while allowing the reader to conceptualize the emerging cultures of the first millennium in Europe. Nees is able to do this by outlining key aspects of the studied works of art that symbolize how life was at this point in history. At the beginning of his book, it is apparent that Nees seeks to provide a less traditional view on art at this time when he states, “I offer a different story of early medieval art in place of the more traditional tale of the decline of Rome and triumph of Christianity”. Nees’ thesis is subsequently inexplicitly stated to analyze the role of tradition in early medieval western art and its transformation as time progressed. By following a non-conventional thesis when writing this book, Nees is able to contribute a new perspective into the overall topic of medieval art.

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

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.

I gave an in depth analysis into the painting in many aspects from color to space. This concurred with my thesis of Christ expressing peace and tranquility and providing the differences between his figure and the others surrounding him. I also provided academic quotes to support my thesis. This painting is important to humanity because it gives us insight into what was important to Bosch and the people living in Netherland at the time. Religion greatly influenced the artist whereas in this day and age, religion is usually not prominent in

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

The painting by Frans Hals symbolizes the wealth of which the baby comes from and the prosperous pride of fertility. It portrays the lifestyle and the type of emotion people had when families arose. With the use of tenebrism the artist uses heavy darkness and shadow to illuminate the focus

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

The story behind this painting is a Biblical tale about a strong heroine named Judith, who was known for her bravery and resistance against the Assyrian troops that come to assume control over her people. In this story, Judith uses her wit and seduction to ease her way into the Assyrian troops' camp and continue with a genius plan to execute the Assyrian General, Holofernes. She seduces him, and once he is drunk, beheads him in his own tent, with his own soldiers all around him oblivious (Branch). Judith was able to defeat the enemy and resist what could have been the end of many Israelites' lives. Cranach's choice suggested a political resistance that required a bravery similar to that of Judith's. Small details in the painting such as the bodice of the dress and Judith's jewelry show Cranach's love for a decorative surface, as well as the

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.

On the left we have Caravaggio, The Conversion of St. Paul, 1600, and on the right we have Georges de la Tour, Magdalen with the Smoking Flame, 1640. These two paintings represent major movements within art such as the influence of artists on one another, and the approach of religious paintings during the seventeenth century.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

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 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

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this