Our Moving Fate: A Study of El Greco’s Assumption of the Virgin

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Once gracing the lavish floor of Getty Center, the Coronation of the Virgin which was painted by the extraordinary Italian artist Gentile da Fabriano in 1420, attracted many attentions by its sacredness, powerfulness and magic of the Christ. At 36 ⅝ inches and 25 ¼ inches size tempera, Christ gently places the ornate gold grown upon Virgin Mary's slightly bowed head by the watching of angels from either side as she becomes the Queen of Heaven. Since the first century, Christianity has played an important role in Western Art, which has inspired numerous artists in making their masterpieces. However, artists must follow the religious ‘rules to build up the imagery of the Christ, and educate audience about the religious. Coronation of the Virgin by Fabriano is a perfect presentation of that.

Masaccio’s famous religious painting, “The Holy Trinity”, is known for the engagement of linear perspective to create an image that goes beyond just paint on canvas, (or should I say wall?) by creating the illusion of depth. This painting addresses many religious concepts by setting up different levels and layers in the constructed space. The characters depicted are made up of four groups of human figures, which include the Trinity (God the father, Jesus, and the Holy Spirit), the Virgin Mary and Saint John, a pair of donors, and a skeleton on a tomb at the bottom of the picture. There is an apparent point of separation, which is made clear due to each group being on separate levels. Their difference in power is fundamental feature in

In the foreground of the painting, a crowd of people gather around the recently resurrected Lazarus. There are roughly fifteen individuals in the crowd in a variety of postures, many of which are contorted and turned away. Furthermore, their forms are painted with considerable emphasis on the way that their respective limbs are bent and twisted which consequently creates a peculiar confined space in which much of the content and action is contained. The outstretched arms and warped bodies of the figures create two diagonal lines which cross over each other in the center of the painting, leading the eye to the primary subject and the focal point, Lazarus. To the left of him is a younger woman looking outwards, contrasting with the focused inward gaze of the crowd. Additionally, the same women mentioned previously also dons a striking white garment similar to that of

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

Artist El Greco was commissioned to paint The Assumption of the Virgin for the central panel of the high altar of the church for Santo Domingo el Antiguo in Toledo (The Assumption of the Virgin). After El Greco arrived in Spain, this piece became his first significant commission. Some of the characters seen on the canvas

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

In the painting The Immaculate Conception (Figure 1) painted by Antonio de Palomino y Velasco, there is a prominent central figure found in the middle of the canvas. The figure is a woman draped in white and blue garments with red accents and surrounded by cherubs and doves. The woman is the Virgin Mary and has a crown of 12 stars around her head. Both cherubs and doves are often used as religious symbols and this piece of art is Biblical in that it illustrates Mary very much like she is described in the book of Revelation. Revelation 12:1 reads that “…a great sign appeared in heaven: A woman clothed with the sun and, the moon under her feet, and on her head a crown of twelve stars.” During the time period that Antonio Palomino created this piece, there were countless other artists painting similar works with their own spin on things. Notable artists include the likes of Juan de Valdes Leal and Bartolome Esteban Murillo. In this time period, the counter-reformation was taking place and I believe that, as a response to the protestant reformation, the painting of religious images was used to reignite growth in the Catholic Church.

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.

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.

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

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.

The painting "The Assumption of the Virgin" has a mannerism influence. Mannerism was a XVI century art style influenced by, and at the same time a reaction to, the harmonious ideals of the Italian High Renaissance. Mannerism is notable for its artificial ( as opposed to naturalistic ) qualities which favor compositional tension and instability rather than the balance and clarity of earlier Renaissance painting.

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

In this artwork attributed to Luca della Robbia made in 1460-70, Virgin and Child with lilies depicts Mary as the mother of God, instead of the queen in heaven, and emphasized the maternal