Saint Francis In True Ecstasy

Botticelli was able to master these techniques due to being taught by another prominent Renaissance artist, Filippo Lippi. First, there is a lot of detail. For example, there are hundreds of different types of flowers and leaves in the meadow. Upon looking closely at the clothing of the different characters, one can see the immense detail used by Botticelli in the tassels and fabric of the clothing. Furthermore, the flower detail connecting Flora to Chloris is a small detail that has a deeper emblematic meaning. The standing positions of characters give off a vibe of elegance and grace to viewers; according to Dr. Harris an Art Historian from Khan Academy, "She (Venus) tilts her head to one side and holds up her drapery and motions with her hands and looks directly at us," (Harris). The position of Venus is very elegant and inviting to viewers. Also, Botticelli portrayed the subject matter in a naturalistic way, a common convention of the Renaissance. Botticelli paid attention to the canon of proportions or the standard for symmetry of the face and body as evidenced by the similarities between the La Primavera and other Renaissance paintings, all of which depict the standards of beauty of the time or what was ideal beauty. Formally speaking, Botticelli went against the conventions of the

Giovanni Bellini work Saint Francis in Ecstasy is presently located in the Frick collection. It was painted in 1480 and it is oil on panel. The artwork contains many symbolisms, for example, the skull on the table to the right of Saint Francis symbolizes mortality while the donkey in the upper left corner of the painting symbolizes humility and patience. Saint Frances is portrayed as barefoot the same as Moses. In addition, being barefoot could symbolize Saint Francis life since he lived a majority of his life in poverty. This particular saint was annotated to sainthood for his spiritual relationship to God and Jesus. Another work that was in the same room as Bellini was by Hans Holbein’s two paintings of Thomas Cromwell and James More. Hans Holbein became a court painter to Henry VIII, which is one of the most prestigious careers an artist could have. Hoblins painting of Thomas More was done for Thomas More one of the courts men for King Henry VIII. The painting is oil on oak panel and the size of it is 29 1/2 x 23 3/4 in. The gold chain around More shoulders shows his service to the King. Thomas More was executed because of the issue with Henry divorce from Catherine of Aragon. In addition, to refusing to sign the Act of Supremacy of 1534. Hoblins painting of Thomas Cromwell was also painted with oil on oak panel and the size of it is slightly larger than

Giovanni di Paolo’s The Annunciation and Expulsion from Paradise is currently in the National Gallery of Art in Washington DC, was finished in 1435 CE, and is made of tempera on panel. This Sienese panel from the start of the Italian Renaissance is believed to be one of five from the lower part of the altarpiece. Giovanni di Paolo uses golden texture to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout the composition in order to portray the importance of the religious context. His personal artistic stylization, the experimentation of the Italian Renaissance but still firmly painting with Medieval Pictorial Tradition, and the use of symbolism can also demonstrate the religious meaning of the piece. Furthermore, in the context of Giovanni di Paolo’s The Annunciation and Expulsion from Paradise, the conversation between monetary and cultural value and the controversy of art being exhibited in its country of origin will be discussed.

Cliché is often used as a pejorative term. Sometimes clichés can be the way a major breakthrough of understanding can occur. As I embark into the world of art, this cliché was a good thing. It was positive because as I studied paintings for the first time. I realized that as I was the beholder and the observer of the painting, I was responsible for making the effort of finding the beauty beyond a simple statement. The purpose of assignment was to observe and take note on pieces of art at a prominent museum. I was fortunate enough to visit the Museum of Modern art in New York City and I hoped to critique very famous paintings like Pollock 's drip paintings and The Persistence of Memory. However, it was a Saturday afternoon in the middle of July in New York City. I wasn 't afforded the luxury of being able to observe famous paintings such as those without a large crowd forming around it. In order to complete my assignment I went to the Getty. I found that finding a painting to study was harder than it seemed. I made a return trip to the Getty after brushing up on Art and Physics. The Getty is home to a variety of artwork dating as far back as the 1300s. I focused on art that was featured in different galleries of the museum including Italian Renaissance era and early Christian work. The paintings that I finally decided to write about were The Portal of Rouen Cathedral in Morning

The Ecstasy of St. Theresa was created by Gian Lorenzo Bernini and is found in the Cornaro Chapel. This sculpture illustrates many aspects of Counter Reformation architecture: different ecclesiastical orders, use of saint, intercession, and dramatic use of lighting. Since intercession was depicted in Bernini's work, it didn’t evade scrutiny of the actual Inquisition. The Counter Reformation Church used this so that they could monitor all of the religious art. They did this to make sure that it followed the correct guidelines of the Council. Another aspect that Bernini’s sculpture demonstrated was the Council's desire for emotions to be shown to the viewers.

The Painting selected for the collection is Mural 1943-1947 by Sante Graziani. Sante Graziani was an American artist and artist and art educator. He was known for his morals which adorned many public buildings. The painting allows for an effective opportunity to inspire and evoke interest for arts in students.

The most notable feature of the far left, Italian Renaissance image is its emphasis on classicism in its design. The dome-shaped building in the background of the painting recalls that of the Pantheon of ancient Rome. The anatomy of the figures is extremely realistic and proportional, suggesting classical Greek and Roman sculpture. There is a symmetry and perfection in how the figures are arranged, as the man and the women are apparently exchanging rings in celebration of marriage under the auspices of a priest. The figures have a three-dimensional quality which contributes to the idealized, yet realistic texture of the work.

Lauren scrambled forward, but her choppy steps were no match for the deep drifts. Icy snow fell over the top piping on her boots and packed around her socks. Although her leg muscles bulked at the cold and extra weight, she forged onward, her breath hacking against the wind.

There is a spotlight on St. Peter’s face and half of his accusers face, indicating that the focus of the painting with light, that Peter is the main figure. Caravaggio uses light to portray a specific moment in the Denial of St Peter, the light shines directly onto Peter, half of the woman accusing him and no light on the soldier. The soldier is in the shadow but the light is slight directed on his back. With the light centered on St. Peter and his accuser’s face, the lines are contoured, to mimic reality in the pictures. The figures facial expressions, (emphasized on St. Peter) look more realistic. The lines and textures on Peter’s face, suggest that he is rejecting the accusation, as the lines in his forehead are creased as he shrugs up his eyebrows and St. Peter’s hands are placed inward. The drapery on the garments on the figures look realistic, but looked as if they were placed like costumes. St. Peter’s face is the one most accented.

One of the art pieces that I have chosen is called “Saint Michael Casting Satan into Hell” created by Francesco Picano after a design by Lorenzo Vaccarno. This piece was made in 1705 in Italy (Naples) during the times of Italy 's Renaissance movement. According to the article “Brief History of Italy” by Tim Lambert states that, “The 18th century was an age of enlightenment when the power of the church was curtailed”(sec 8). Which stating that during this time religion was highly focused in their works as a gateway for new ideas. This artwork is located at the Los Angeles County Museum of Art inside the Ahmanson building on the third floor, in the center of the exhibit under European art. The reason why I chose this piece is because this piece was interesting, how they represent the idea how it’s represented in the stories that was focused in the work. As well as how it’s place near the center so people can observe it from many different angles. This piece is a sculpture work that uses Polychromed wood and glass that were carved and molded into and it 's at least two feet tall.

Spectacle and threacality are the use of light and shados to create a spot light effect, a term knows as tenebrism. This effect mainly focuses on the on the human drama and main characters of the story. When looking at the painting you will see that the background and the surrounding corners are very dark and shadowy in color, however the chief priest sodiers dressed in balck donot seems to dispear. The artist used bright and vabrime colors to reflect not only on the faces of the figures, but alos on their skin and clothing. The skin of the men in the artpiece glose in the spot light effect, allowing bright colors to contrat from dark once. Another attribute of the stylistic period is human drama. The man standing behind Christ has his hands up with his mouth wide open as if he was screaming for help. His rope fies over the figures heads suggesting motion and desperation. Jesus is the second figure on the left with a red and blue gown on. It's amazing how the light different parts of his face. The details of the wrinkles on his ford head and the position of his eyes suggests street, fear, and disbelieve. He crush his hands together showing that his user pressure and tension. The third man on the left of the painting appears to be Peter, because he seems to be protecting Christ from being arrested. Peter's facial and body expression display anger and the

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.

Titian was a man amongst boys when it came to the world of the Italian art renaissance. He was nick named, “The sun amidst small stars” because of his nearly unrivaled ability to portray god and monsters, men and beasts, depth and colors. In his work Assumption of the Virgin He shows to full range of his creative ability form the paintings symbolism and realism, to its overall color scheme. He uses the barrier of the clouds to separate the heavens from the earth. He uses rich golden colors to represent heaven and he uses the blues of the sky to represent everything below. This painting shows titian’s range as an artist, and seeing that it sits in the Basilica Di Santa Maria Gloriosa dei Frari it shows his value too. Michael Berryhill on the

When he started this artwork (study of Innocent the X) he had to go to Rome to view Velázquez portrait of Pope Innocent the X. When questioned about his paintings he said it wasn’t because he had anything against the pope and then he went on to suggest some lie. The real reason was the idea of power and anger that makes people do terrible things and distorts them. In the original painting the pope is screaming but in the nightmarish portrait by Francis he is screaming and angry with rage and power. His presence is demanded with colours and paint stokes that seem to reverberate from his feet.

During the Renaissance, new styles of retelling stories and religious scenes emerged as artists gained more freedom to experiment and show off their artistic talent. The newfound artistic freedom can be attributed to a rebirth and renewal of classical antiquity and renewed interest in the humanities. Artists, writers, philosophers, historians, poets, and many more intellectuals rose to the opportunity in the pursuit of knowledge and moral enlightenment. The changes in the era brought Europe out of darkness into the light, as new art was created, in new styles, forms, colors, and setting. The great artists of the era captured the real world in their works, engaging the people to the point that they could identify and relate to religious scenes of the Virgin Mary and Jesus Christ. Filippo Lippi, a skilled Italian Renaissance painter, combined the religious world, the Classical era, and the real world in his painting, Annunciation, painted in Florence from 1443-1450 with tempera on panel. Filippo Lippi made the Annunciation scene with the Virgin Mary, Jesus Christ, and angels accessible to everyday people, as they could enter the spiritual realm, experience it, and become enlightened.