Ruben’s The Raising of the Cross was painted around 1610-1611 by Peter Paul Ruben using oil on panel. This painting is Flemish Baroque style. This image is loaded with fundamental artistic elements and principles that not only enhance the image, but also enhance the observer’s perspective and perception. The four elements and principles that will be discussed in depth are directional line, contrast, emphasis, and focal point. The first example of a directional line in this image is the rope being pulled on the right side of the image. When you look at the rope, it leads to what I believe is the central point of this image, Jesus being lifted up on the cross to be crucified. The second example of directional line that can be observed is found by looking at the cross itself. The line of the cross leads to Jesus’ face and the scroll on the top of the cross. This scroll is saying that Jesus is the King of the Jews. These two examples of directional lines help bring the viewer’s focus toward the central point of the image. Contrast occurs when an artist uses two noticeably different states of an element, whether that be black versus white or geometric versus organic shapes. The first example of contrast I see in this image is the brightness of Jesus versus the darkness of the …show more content…
The first example of emphasis found in this image is by looking at the expression on Jesus’ face and the blood on his body. His facial expression shows that this is a troubling time for Jesus, and it sheds light on how painful this must have been. The blood on his body puts emphasis on the fact that Jesus is actually human. Another example of emphasis comes from the muscularity of all the men in the image lifting Jesus up on the cross, which could represent how much force it took to do such a horrible thing. These men were vicious and brutal who wanted nothing more than to murder
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
The contour lines of the painting are drawn strong and hard, isolating each figure. The lines in the painting are mainly vertical. The majority of the people are all standing up, the soldiers weapons are pointed upward, and the pillars are painted tall. The vertical lines communicates a sense of heighten spirituality. Also, if you look closely behind John Brown, the artist manipulates the lines of the building to put a cross-shaped figure right above his head. The combination of these two factors gives us the feeling that Thomas Hovenden was trying to portray John Brown as a Christ-like Martyr heading to his crucifixion.
Peter Paul Rubens was a painter in the Baroque genre. The main theme of his painting “Descent from the Cross” is the death of Jesus Christ, who is depicted as a real person. All the people are extremely realistic; thus, it helps to create an emotional response from the viewers. The way Jesus's head is tilted clearly means that he is dead; however, the painting does not create negative feelings. Nevertheless, it is a death of one of the main figures in Christianity; therefore, its emotions are intense. Crucifixion is both historical and mythical event for Jesus was a real person and his life was surrounded by legend and myths. Respectively, “Descent from the Cross” shares this element with other Baroque paintings. Moreover, the light on the
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.
For example, the brightest spot of this particular scene is the lamb on the table. It helps show its importance. There is also use of tenebrism in this work. On the far left and right are images of what appear to be Adam and Eve. There is a very sharp contrast of light and dark in this image.
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
2. There are 18 people in the foreground of the image and an uncountable number in the background. Jesus and Peter both have halos indicating their divine status, while Judas doesn’t. The people have a sort of bulky feel to them as well as very vibrant colored clothes. The contrast of the kiss against the side of the painting where peter is on the verge of violence. The painting includes torches and spears. The darker background really contrast with the more vibrant colors of the clothes depicted. The sky is black fading into blue. One of the first things that stands out to me is the vibrant colors of the robes and the fact that Judas’s yellow robe almost completely obscures Jesus from the neck down. The colors used on the clothes also stand out to me because of what the certain colors are associated with. Such as yellow being a color associated with cowardice; which is the color of Judas’s robe, while Peters robe is blue and red, red is also the color of Jesus’s robe so maybe indicating the closeness of the relationship between Peter and Jesus. It appears as if Jesus and Peter’s robes are the inverse of each other, Jesus appears to have a red base robe with a blue overcoat, while Peter’s robe is blue with a red overcoat.
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
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 right side has four figures that are overlapped while Christ is in front of the figure on the right side of the painting, giving a three-dimensional feel. The figures are shown in a realistic way and we are able to read the expressions they have on their faces. The figures’ expressions show satisfaction while they are insulting Christ. The mocking of Christ happened several times before his crucifixion. This was considered to be apart of Christ’s passion. In the bible there are gospel narratives that state Jesus predicted that he would be mocked in Matthew 20:19, Mark 10:34, and Luke 18:32. The narratives of Jesus being mocked are filled with irony because the mocking is focused on Jesus as a prophet. The other figures focus on how Christ is prophesied to save his people and yet, could not save himself from
The first artwork I looked at was Christ. This piece immediately caught my eye because of the way the artist depicted Christ. He was lifeless, blood dripping from his head, hands, and feet, with his arms outstretched to his sides. With a slimmed down face, and prominent ribs, he looked malnourished and emaciated. Before the 13th Century Christ was shown as a king and Son of God, usually with him standing in front of a cross with his arms stretched to the side, showing truth and faith. But since then artists have been presenting him as he looked on the cross when he was crucified. This is to show the suffering and pain that he went through for his faith. Christians will remember the anguish that Christ went through when they see him on the cross and this helps to remind them to stay close in their faith.
In the painting Christ’s position shows his willingness and ability to heal the elderly man. His left hand is lifted the shelter of cloth the man is under, literally shows that Christ can lift the sick and heal them or can lift the burdens which befall them. Christ’s right-hand gesture is inviting and shows his love and willingness to help toward the elderly man. The elderly man’s hands are starting to reach up towards Christ, trusting and accepting his help.
The style that characterizes Rubens’ magnificent piece is the baroque style. This style is described
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.
The most impactful and visual image is when someone is nailed on to the cross. Yes, here I am talking about the story of Jesus Christ facing the crucifixion. In the movie, Son of God, the crucifixion of Jesus is powerfully illustrated. The movie focus on the narration of Jesus Christ from birth, life, sacrificial death, resurrection and the ascendance. However, the Hollywood encouraged by the church focused on the scene where Jesus was flogged and then carried his cross up on to the “skull.” Where he was physically nailed and placed upon that cross and suffered a humiliating death. This film played throughout many movie theaters around the United States and even the world. Therefore, many people witness the crucifixion of Jesus on the big