San Zaccaria Altarpiece Meaning

Once gracing the lavish floor of Getty Center, the Coronation of the Virgin which was painted by the extraordinary Italian artist Gentile da Fabriano in 1420, attracted many attentions by its sacredness, powerfulness and magic of the Christ. At 36 ⅝ inches and 25 ¼ inches size tempera, Christ gently places the ornate gold grown upon Virgin Mary's slightly bowed head by the watching of angels from either side as she becomes the Queen of Heaven. Since the first century, Christianity has played an important role in Western Art, which has inspired numerous artists in making their masterpieces. However, artists must follow the religious ‘rules to build up the imagery of the Christ, and educate audience about the religious. Coronation of the Virgin by Fabriano is a perfect presentation of that.

paintings of the Virgin and Child from that time period, probably because of the power

Whereas Bellini used landscape style for his painting, Castiglione chose do his painting as a portrait, so that there is no doubt when looking at the image that St. Francis is in fact the main subject and focus of the painting. Aligned somewhat in the center of the canvas and taking up a majority of the entire painting is Saint Francis kneeling down on a rock as he grasps tightly and desperately to the crucifix as he looks up into the sky. A golden light in the sky above him creates almost a halo above his head and swept over his face is a look of pain and devotion. Unlike Bellini’s, Castiglione’s painting is neither filled with detail or landscape. Other than the close-up figure of St. Francis there is little else to be seen or focused on. The light that is cast upon the rope tied around the waist of his brown habit leads us to the only other details or objects in the entire scene. These include the green ivy climbing over the rock where he kneels, as well as a skull and open book that lie on the bottom left of the

As time passes by, society changes but the land man lives on never does. In Willa Cather’s My Antonia, Cather describes the Nebraska landscape to convey her attitude toward each character and to introduce and support the novels overall theme. As the novel progresses, Cather constantly explains the theme of man’s relationship with land and as the overall theme of this novel. Throughout the course of this story, Cather’s language institutes an unthought of deeper meaning to this account and clearly identifies relationship between man and the land they live on as the main theme.

The mood of these two pieces is remarkable in that color does not play as great an importance as the figures surrounding the focal point of the Madonna and Child. These figures are both essential to the composition of the piece, but in "Madonna Enthroned" the viewer is left thinking that the Madonna and Child are truly untouchable. The mood of this piece, while certainly not "dark", does not inspire any. Even the angels by either side are careful not to come near the holy woman and child. In "Madonna and Child…" however, the entire composition is subject to

Modern practitioners of Santeria may be attracted to the religion for a variety of reasons, notable among which are curiosity with secret rituals and the longing among many immigrants and people of color to get in touch with Caribbean and African roots. What each specific individual wants from a religion is difficult to generalize upon, but Santeria offers a way for people to achieve harmony in their lives through communication with and obedience to orishas, the divine beings that act as intermediaries between humans and the Supreme Being, Olodumare. Santeria teaches how to know and appease the specific desires of a pantheon of orishas who alert devotees to problems in their lives and protect them from harm. In

The virgin and child is known as Morgan Madonna as well. The sculpture was made in the twelve century and is Romanesque Art. The Morgan and child is a sculpture made out of painted wood that was used to adorn church portals. It was made during the Romanesque period. Mary is as the throne for Christ since she is seated on the throne. Any depiction of Mary with Jesus on her lap is known as the thrown of wisdom. Christ’s wisdom is depicted in his adult head and small body. Is figure was used as a religious drama because of its context. Both of Jesus hands are missing but, it is assumed that he might be blessing and with the other holding the book of the word of god since it’s in a church. Jesus represents the priesthood, humankind and god. Mary

The Ghent altarpiece and the San Zaccaria altarpiece have many similarities. Starting with the Virgin Mary and the belief in Christ. Both of these artworks depicts the Virgin Mary. At the top of the Ghent altarpiece shows scrolls and books or prophets and sibyls that predicted the coming of the Christ (the coming of the Messiah). The top left is the Old Testament prophet Zacharias and the on the top right we see the Old Testament prophet Micah. The moment that they predicted is unfolding right below the scrolls, which is a scene of the Annunciation. Gabriel is seen on the left and Mary on the right. On angel Gabriel’s hand is lilies, which symbolizes Mary’s purity, her seamlessness, and virginity. He announces her that she is about to conceive Christ. You can actually see words coming out of Gabriel’s mouth in Latin “Ave Maria” (Hail Mary full of grace… blessed art thou women”). On the right, there is a dove above Mary’s head and it symbolizes the Holy Spirit. There are also words coming out of her mouth in reply to angel Gabriel. But

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

Madonna and Child with Angels and Prophets, an alter piece standing some 12 feet and 7 inches tall, was created around 1280-1290 A.D. for the Church of Santa Trinità in Florence, Italy and is now in the Galleria delgi Uffizi Florence. This iconographical piece was constructed through tempera and gold leaf on wood by Cimabue, an Italian painter who brought classical tradition back into art during the 13th century, when Italo-Byzantine style was dominant, paving the way for art in the Renaissance period.

The increase of wealth during the twelfth century allowed artists to showcase their talents in churches. The apse titled Christ in Majesty with Symbols of the Four Evangelists in the church of Santa Maria de Mur displays the representation of divinity through its subject matter, technique, and style. In the apse, the main subjects revolve around scenes from the Old and New Testament with Christ as the focal point. For technique, the artist employed fresco painting instead of mosaics to show the images. The style of the apse avoids a sense of realism by hiding the bodies of the figures in the drapery and using the hierarchy of scale.

In Bellini’s depiction of the Madonna and Child (One of Bellini’s mature works), the Madonna, with her face calm and collective, is tenderly holding the Christ Child on her knee, the Madonna is seated improbably in front of a velvet curtain set in a landscape with a city and rolling mountains in the distance. “The transition from a dormant to a verdant nature and a dawn sky is a metaphor for death and rebirth (metmuseum)”. The landscape seems to allude to the theme of death and resurrection: the trees are barren in the foreground and while the fields follow behind in the background is all green, the effect is somewhat a little over the top with some of the brownish color in the middle having been faded over the time (metmuseum). The path

The Virgin and Child was created by Barnaba da Modena in 1360, and is deemed Gothic in style. It depicts The Virgin Mary holding a Child Christ in her arms, and rests undamaged to this day in Boston's Museum of Fine Arts. In terms of formal elements, it is 39.4 inches in height and 24.8 inches in width (100 x 63 cm), a religious painting executed by means of tempera on panel. The enduring framing edges might indicate that the painting was initially planned to be the central piece of a polyptych. A first impression is that of anachronism: its opulent golden background and the intricate striation outlines on the Madonna's mantle seem to indicate a much earlier conception, mainly Byzantine in nature. However, the Byzantine herring-bone pattern is clearly endowed with a more modern linear roundness.

In this relief, we see it as Christ the child shares the viewer his joy of starting his new adventure as well as praising the purity of Virgin Mary. There are also three angels emerging from the cloud. In the Old Testament, angel’s functions refer to convey God’s will to mankind, which in this relief the angels reminds us of their role as “annunciators (ABRAHAM, 2: The three angels). They were the ones who carried messages from god and annunciated the birth of Christ. They are the witnesses of Christ the child coming to the human world as well as proof of Virgin Mary’s virtue of immaculate. In this relief, they are the guardian of the Virgin and child as well as admirers of Mary’s pure and virgin status. With their hands holding together in prayer, they show their blessings and caring to the mother and son as well as to the human world. In addition, unlike other Virgin Mary we see in churches’ altarpieces that are usually seated on throne, we also have Mary sitting humbly on the ground in this relief. According to Dictionary of Subjects and Symbols in Art, there is a popular theme of “Madonna of Humility” which its essential figure is that the Virgin is seated on the ground. The dictionary also states that artists set Virgin Mary on the ground to convey a medieval theology,

Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.