Review Of Andrey Rublyov And The Trinity With The Virgin

Baciccio wanted the story he represented to be easily recognized, so he made the angel wear white robes, and display a large set of wings. Abraham appears to be the eldest looking of the group with his beard, wrinkles and is the one who wears the only true red shown on the canvas. In contrast, Isaac’s boyish appearance is presented in the nude. Along with these distinguishing characteristics, Baciccio uses color, and linear perspective to tell this story. He separates the canvas with a background of mountains and trees, a midground of people watching the sky in an open field, and a foreground of his main subject. The focal point becomes the hand Abraham is using to hold the knife. The orthogonals of the altarpiece, mountains in the background, and decent of the angel all point to this location. The excellent details around the hand when contrasted by the natural blurring of the cloudy background draw the eye. Baciccio also uses trees to circle the important trio, and tell the audience that they are the ones who need the attention. Little glances of the landscape can be seen behind them, but for the most part these three figures take up the majority of the canvas. Baciccio wanted to make it easy for the viewer to recognize the story immediately, but those who constantly stare at every leaf, pebble, hair, and brushstroke get the real pleasure of knowing the true story, he story of how the

The Trinity by Johnathan Fetter-Vorm depicts the history of the making and drop of the first atomic bomb created during the World War two era. Fetter-Vorm effectively creates a highly crafted argument that is designed to elicit a response from the readers while illustrating an unbiased and educational story. He challenges the people of the future to remember the previous mistakes of the past so that they will not follow in the footsteps of the ones before them. Fetter-Vorm’s use of specific literary techniques, such as juxtaposition, shading, and graphic weight, to highlight his highly crafted argument that effectively exploits the dishonorable principles of our country’s greatest minds and leaders, subsequently exposing the dark nature of

The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost touching fingers while they try to reach for one another but seems like they would never join hands. The male figure of the archangel would carry a long feather like pen and it would bow down to the Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in authority because she is standing up and looking down at the Archangel. This creates tension in the painting while we question the social distinction between the two. Looking closely at the Virgin Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and tried to stay away from him. Looking on the left, the Archangel have white wings and there is green-yellowish light that surrounds him and the red clothing on him show that he is there for good news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is unable to accept the annunciation from the angel.

Bonhoeffer, Dietrick. The Cost of Discipleship, New York,NY 10022: The Macmillan Company, Published 1959. 344 pp. $1.95

The halo looks to have been carved into the wood and then painted with a little bit of sun gold to heighten its appearance. The lesser portion of the painting has a dark brown color which might have being painted or made from a different type of wood. The base on which the painting stands is painted in dark brown and looks very firm. On the left and right of the arch there are blue colors meant to depict the skies filled with yellow stars. This depiction of the skies is said to be where God the Father resides. In the painting, there are three life like images that are clearly visible. The first one as illustrated in order of importance is God the Father who sits on his thrown that of a chair made from gold. His hair is long down to his shoulders; and he his fully garbed in a mixture of red, white and black being the dominant color. His garments are lined with gold colors and matches his long beard. God the Father hands are partially extended in front of him holding up a wooden cross which displays God the Son.

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

     In both paintings, the artists use people to help create the mood of the scene. In Moretto’s Entombment, Moretto depicted each figure with his or her own unique emotion. Saint John the Evangelist (lower left) looks towards Christ with a gaping mouth as if he still can’t believe this is happening. He also holds Christ’s arm like he wants to help in some way but he knows that he can not. Nicodemus (upper left) definitely looks the least emotional of the group but that may be because his beard hides some emotion. Moretto angled Nicodemus’s body toward Christ as if he was trying to help, but restrained himself . Nicodemus also clenches the crown of thorns towards his chest shows in order to show the viewer his grief. Mary (above Christ) looks saddened but also in deep thought. Her eyes wander off into the sky looking at something that we can not see. I think Moretto did this in order to hint to us that Mary foresaw this event and knew that it was part of a greater picture. Joseph of Arimathaea (upper right) has his body turned away slightly, causing him to twist his neck giving us the impression that the event is too terrible for

Both paintings represent the Madonna (the Virgin Mary) with the baby Jesus on her lap. In the previous painting, the arch vault and throne on which the mother is seated is stylized very realistically along with the saints surrounding them are all in proportion to themselves and to each other. In the later painting the pose of the Madonna is elongated and exaggerated, the baby in the later painting is quite large and the angels in the picture are crammed to one side with a "prophet" on the opposite which is very small not coming up to the Madonna's knee.

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

Prior to Raphael’s The Alba Madonna, there had been numerous paintings of the Virgin Mary and Baby Jesus. What was unique about this one was the fact that a very young John the Baptist was included. In his painting, Raphael has John the Baptist holding a cross and the Baby Jesus grasping it. All three subjects in the painting are gazing at the cross. Church teachings state that Jesus had an understanding of his fate at a very young age. This painting signifies that understanding. Baby Jesus is accepting his future fate of suffering and dying on the cross. His mother Mary and cousin John are also accepting of his fate. Raphael has captured

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

While reading the book Art and the Bible by Francis A. Schaeffer I found some things interesting and

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.

During the Renaissance, Christianity still had a great influence in art however many tried to represent the Virgin’s maternal side due the humaneness and relatability. But there are many differences between the two paintings, the most obvious one being the difference in the background which emphasizes the shift during the Renaissance away from the importance of the material to the importance of skill. The image of the Madonna and Child is on a simpler all gold background and the Virgin Adoring the Christ Child with St. John the Baptist and Two Angels has a very detailed landscape in the foreground with trees, rocks, mountains and the

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he