Spiritual Meaning In Art

Question 2 0 out of 2 points What effect does Caravaggio achieve with light in The Calling of Saint Matthew? Answer Selected Answer: Correct Answer: Shows Jesus bringing the light to sinners Transforms the calling into a miracle

This oil on canvass depicts the moment when Christ, a divine spirit embodied in flesh, was born in Bethlehem. The painting is filled with all living things rejoicing as radiant beams of clean white light bounce from the birth and back to the heavens above. The painting is full of opalescent colors that bring a sense of calm. As you are drawn in your eyes reach the elegant curvature of the angel’s

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

In the lives of saints, we find biographical material that helps to shed light on the way of life throughout the past two-thousand years. The lives of saints show a pattern of spirituality that teaches each successive generation how to follow Christ, according to each individual culture. Saints are the archetypes of the Christian experience and the Christian life. They are role models, and they are our intercession with God in Heaven. It is important for us, as Christians, to never lose our sense of discipleship, which the saints help with, as they are our older brothers and sisters in Christ and can help us learn from the past.1 The depiction of saints is very important to art, and its impact is not small.

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”).

Salvador Dali’s painting, The Sacrament of the Last Supper (oil on canvas, 65 ¾ x 105 ½ in., c. 1995), has become one of his most iconic paintings from his “late” period. This painting portrays one of the most famous scenes from the Bible, the Last Supper, depicting the twelve disciples eating their final meal with Jesus. This scene has been created many times throughout history by many different artists. However, through Salvador Dali’s use of equal symmetry, the uncommon setting he chose and the interesting perspective and focal points, he was able to recreate a completely unique version of this common biblical scene while adding his twist of surrealism.

In this research paper I will be looking at two different artworks by the same artist. The two I will be looking at are the Sistine Chapel Ceiling (1508-1512) and The Last Judgment (1534). Both of these painting are painted in the Sistine chapel which is located in the Vatican. I am going to attempt to evaluate these two pieces of art painted by Michelangelo and explain the cultural and religious aspects of them. I will also look to other scholars to get their perspective and their reactions to the paintings. The last step of my research will be to formulate a theory about the relationship between culture and religion and use my topic to help defend my theory.

The feeling of temptation is an emotion most people have felt in their lives. Temptation has been illustrated in Christian religion since the beginning with Adam and Eve. Portraying the emotion of temptation has varied from artist to artist, in all; the viewer will continuously understand the awareness of the feeling. The oil painting “Temptation of Saint Hilarion” by Octave Tassaert was painted around 18571. When examining this art for the first time, the viewer is thrown into a world of dark colors and emotion. As our eyes grow accustomed to the image, we start to understand the message behind the madness of temptation. In the next few paragraphs, we shall analyze Tassaert’s work by looking in depth of the form, symbolism involved in his

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

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.

Saint Jerome on the right and Job on the left, are vivid images of the epitome of true devotion and worship to Jesus. As they both have a contemplating stare in their eyes, evoking the acceptance of the death of Jesus Christ. Following their eyes out, it’s clear Carpaccio directed them towards the viewer to evoke the invitational feeling of devotion and respect towards the deceased image of christ. Even

The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.

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.