Saint John

Imagine seeing the crucifiction of Christ. Seeing that happen would change everyone’s view of the world. Christ’s crucifiction affected many people, including His mother, Mary. Juan de Juanes, the artist, painted this scene realistically. This painting was made with oil paints on panel with long flowing strokes, which seemed to make it come to life. Juan de Juanes depicts many aspects in this painting such as historical significance, colors, and subject matter.

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

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

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.

This painting depicts the scene from the Bible known as the last supper, where Jesus and his twelve disciples ate their last meal together before Jesus died. Dali is not the only artist to paint this famous scene, Leonardo Da Vinci, along with many other artists, created their own version as well. The difference is that Dali used his surrealism background to create this scene in a completely unique way. Instead of painting the twelve disciples of Jesus as individuals, Dali painted them symmetrically so that each man had another mirroring the same pose across the table. This element, along with placing the setting of the last supper in a dodecagon and showing the beautiful background, creates a calm and peaceful environment for the disciples to pray. Dali also created two focal points in this painting, while most artists tend to only choose one. The floating torso is obviously the surrealist element of this painting, but also completes the message that Dali is communicating. Though the three elements, symmetry, setting and focal points, Dali created a completely unique rendition of the last

In the center panel of The Raising of the Cross, there are many men struggling to lift Christ on the cross. I think the implied significance of this is the biblical reference to the weight of the sins of the world being on Christ and his death being the ultimate sacrifice. Ruben seems to portray this by showing how heavy a weight that is by the men struggling to lift Christ. The angling of the cross and the styling of the painting is very similar to Ruben’s artistic inspirations, such as Caravaggio (Getlein 425). Besides the cross, there seems to be a clearly implied line pointing to the sign above Jesus’ head where it states that he is “Jesus the Nazarene, King of the Jews” in multiple languages (Bible, Gospel of John 19:19-20). There appears to be, what looks like, a skull in the wall behind the cross, this would likely be the skull of Goliath, since the hill is Golgotha (the Place of the Skull) (Bible, Mark 15:22). Jesus is clearly more brightly lit than the rest of the painting giving him emphasis in the image and the rocks behind the group being subordinate to them. The man in red that is lifting the cross seems to stand out among the men, he isn’t dressed the same and he’s darker skinned than the rest, I suspect this could be Simon of Cyrene, the man that was ordered to carry Jesus’ cross after he collapsed (Bible, Luke 23:26)and Cyrene is in modern-day Libya and Simon

The painting also uses perspective lines to draw your attention to the center of the painting towards Christ, and Christ and two of his followers on either side of him form a perfect triangle. These spacial and perspective understanding were really perfected in the Renaissance and really aid the painting.

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.

The crown of thorns is a biblical symbol that was worn by Jesus Christ: when he was crucified. Pi compares his torment to the suffering of Jesus Christ and shows his faith in Christianity. Additionally, Pi shows immense knowledge of

For the Week 6 Discussion you will create a Gantt chart for one element of the St. Dismas case study project. Using a project management tool like MS Project is typically the easiest and fastest way to do this. However, it is not the only way. You can use MS Office products as well to create the Gantt Chart.

This major innovation that Georges adds to his Caravaggio inspired paintings would be showing the light source of the painting to the viewer, and putting the light source directly in the center of the piece. In his painting, Mary Magdalen with the Smoking Flame, Georges’ goal was to create a calm, reflective state of a follower of Christ. This painting shows Mary Magdalen, a repentive prostitute, putting aside her jewels and rich clothing to meditate on mortality while looking into a flickering flame. Georges creates subtle hints of religious meaning through items throughout the painting. The skull sitting in her lap refers to morality and the vanity of human life, the books of scripture refer to her following of Christ, and the scourge refers to the pain and suffering that Mary may have been experiencing in the past or during her

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.

It is a scene which is shown after Jesus was crucified, where his body has been removed from the cross and his friends and family mourn over his body. Many artists have focused this scene by just painting four people: the body of Christ, His mother, Saint Mary Magdalene and Joseph of Arimathea.

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

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