Romanesque-Byzantine Basilica

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

walls, there are paintings of the Life of the Virgin. On the bottom of the walls there are images of the seven ecumenical councils. The song “The Last Judgement” is painted on the west wall. Numerous figures of martyrs are painted on the pillars, and there are also many icons. There used to be an icon of “Our Lady of Vladimir,” but later on the icon was moved to St. Basil’s Cathedral so it wouldn’t be stolen because it was so expensive. There are icons of the Virgin Hodegetria, Saint George, Trinity. There is a large iconostasis, which is a screen bearing icon that separates the sanctuary from the nave, that occupies the whole wide wall of the cathedral.

Shortly after Rome made the transition from pagan practices to embracing Christianity as their formal faith, Christ's depiction in art went through various restorations. Some of the most widely popular illustrations were that of Christ sacrificed on the cross to his ultimate ascension into the Kingdom of Heaven after overcoming death. Since the image portrays Christ in luxurious attire resembling the Roman toga, the viewer can perceive that the mosaic was meant to present Christ in an imperialistic fashion. This is perhaps directed in part to the Byzantine emperors preferring to worship Christ in a way traditional and symbolic of their historical and early customs rather than how he really looked.

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 exterior of the church is very different from the ones we are used to in the sense that the church itself is vividly painted with all types of icons dating back to the mid 1960s. The tradition for this types of paintings is however rather old and in the orthodox creed these paintings are particularly important because they show the saints for whom the church was erected and whose name they usually take.

The Virgin of Immaculate Conception was created in the late 18th century in most likely “South America, probably Cuzco, Peru” (Dallas Museum of Art). The illustration was formed with oil on a canvas and the artist is unknown. The artwork is currently being displayed at the Dallas Museum of Art within the Latin American Art section. The Virgin of Immaculate Conception belongs to the The Cleofas and Celia de la Garza Collection and was a gift from Mary de la Garza-Hanna and Virginia de la Garza. Other featured works in this collection are The Ascension of Christ and Flight into Egypt, both by an unknown artist. This artwork is a religiously stylized piece composed to represent the values of the Virgin Mary’s life, heritage, and future.

There are two particular paintings currently on display at The Museum of the Fine Arts, Houston that are so similar in appearance and content, but their intentions and purposes differ dramatically. These two paintings, both relating to the virgin and the child, are the Master of the Straus Madonna’s Virgin and Child (Museum of Fine Arts, Houston), dated c. 1395-1400, and created much later, Antoniazzo Romano’s Virgin and Child with Donor (Museum of Fine Arts, Houston), dated c. 1430-1512. Within a hundred years, these two artists, as well as many others, developed pieces of grandeur that have been the subject of speculation and analyzation to this day. Why? Because of their nuances that make them traditional in their own isolated ways. Whether

The Christ in Majesty with Symbols of the Four Evangelists uses an interesting technique in its apse, compared to previous Byzantine decorations in apses. It incorporates the technique of fresco painting, where artists painted pigments into the plaster and wood on the walls so the paint would become one with the walls similar to methods used in ancient Greece, compared to exercising mosaics as decorations in apses. The artist mostly employed primary pigments in the Christ in Majesty with Symbols of the Four Evangelists to make the figures stand out. A repetition occurs in the pigments with red, gold-like yellow, and blue with the occasional purple and the hair colors vary with tones of brown and grayish white.

In the Holy world, everything has significance in relation to God. There’s no such thing as just plain decoration. Every piece of art and object are perceived as ornaments, which adds symbolism and life to the world. Two of the most magnificent masterpieces, still standing today, representing the Holy world, are the Hagia Sophia, also known as the “Holy Wisdom”, and the Dome of the Rock, dominating the Temple Mount on the holiest site of Jerusalem. They both exemplify the commitment and loyalty of the people to their Holy leader in the world of endless happiness.

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

While constructing both of these cathedrals there were sculptures created that represented narratives of theology and mysticism. Both were created for a place of worship that’s why sculptures and paintings of religious images were added. This showed a great respect for the belief in Christ and the surrounding believers.

The Romanesque and Gothic architecture period both occurred during the Middle Ages with the Gothic period taking place during the later half. Gothic and Romanesque architecture were related in many ways, but they also contrasted in style too. Over time, masons began to test the waters and push the limits. They thought of new ways to add lighting and ways to allow more height to the building without it being to heavy and weak. Many of the reasons for the change in styles had a lot to do with society and the changes it faced. There was a greater intensity occurring in piety and literature. The Gothic style embodied this new urban society. Romanesque and Gothic shared similar characteristics, but Gothic architecture was a greater departure

Religion was a huge motivator for both of these periods, and held deep emotional connections for many artists. I find this to be somewhat relatable, since I also need emotional attachment as a motivator to complete my artwork sometimes. These designs resemble those of today in the amount of effort and forethought put into planning and building them, however, the complexity of these older religious structures lies in the artistic and visual nature of the building, rather than the efficiency-related accomodations one would observe today. This demonstrates the metamorphosis of human priorities over the centuries. Both of the images to be discussed (Temple of Hera II and Palatine Chapel) speak to the

The piece solidly represents a global view of Christianity. While emulating many features appropriated from other cultures, Christ in Majesty demonstrates a quality, uniquely portraying Romanesque stylistic ideals. Christ is highly stylized—depicted in a nonrealistic style—with many ornamental gems placed on his imperial garments and his crown. The