St. Luke and the Virgin (Comparison to 4 Other Paintings)

A side-by-side comparison of the two has some immediate differences especially the placement of each individual and the overall sharpness. Giotto di Bondonne utilizes a fresco technique to express his version of the event. Rogier van der Weyden selects oil to paint on wood for his interpretation. Either piece delivers an identical message of religious grief.

The art piece that I selected for my analysis is called The Triumph of Divine Love by Peter Paul Rubens. The artwork is an oil painting on canvas, circa 1625. This piece of art was commission by Isabella Clara Eugenia, Infanta of Spain and Portugal. The Triumph of Divine Love was one of eleven art pieces in a series portraying the Eucharist cycle, an important issue in the Catholic-Protestant strife. Its purpose was to aid in the Catholic Reformation and the artwork was to be displayed at the Convento de las Descalzas Reales in Madrid. (Ringling Museum n.d.)

Campin was not the only source of inspiration in Rogier's art. Jan van Eyck, the great painter from Bruges, also profoundly affected the developing artist, introducing elegance and subtle visual refinements into the bolder, Campinesque components of such early paintings by Rogier as St. Luke Painting the Virgin. It was in Bruges, where Rogier may have resided between 1432 and 1435, that he became thoroughly acquainted with van Eyck's style (http://humanitiesweb.org). The spiritual essence of a scene was displayed with similar technical virtuosity by Van der Weyden. His international renown was exceeded only by that of Hugo van der Goes, who united van Eyck’s naturalism with penetrating studies of humanity(Eyewitness Books, Renaissance, 20.) Rogier may well have also been influenced by the writings of Thomas a Kempis, the most popular theologian of the era, whose "practical mysticism," like Rogier's paintings, stressed empathetic response to episodes from the lives of Mary, Christ, and the saints (http://www.ibiblio.org/wm/paint/auth/weyden/). By translating the main ideas of Gothic Art into the new, lifelike style, Rogier did a great service to northern art. He saved much of the tradition of lucid design that might otherwise have been lost under the impact of Jan van Eyck’s discoveries (The Story of Art, 276).

In the article “Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait” the author analyzes the religious and social grammars of marriage. This short paper will be a reflection of Harbison’s article that discusses religious and marital norms throughout, with also analyzing various sections of van Eyck’s piece, for example: implying the piece as a marriage document or contract of the marriage, which immediately makes the viewer look deeper into the double portrait. All of this helped me realize that pieces of art are not simply “pictures,” rather they are narratives like a scene in a documentary. The author starts the article with a clear thesis of analyzing the social religious and marital norms when this piece was made.

This painting is much more sensual than Giorgione’s painting due to Titian’s because he engages the woman with the audience by making her look straightforwardly at the audience and his use of chiaroscuro (Grabski, Józef).

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.

I’ve focused on three art pieces which are so beautiful to me. The statue of The Maltese Virgin and Child at the Chancery House with the virgin holding baby in her arms with both looking into the sky, a Byzantine painting from the Byzantinscher Maler Jahrhunderts with the virgin holding child in her lap with baby looking at her and virgin looking at us and lastly, a marble statue located at The Metropolitan Museum of Art of the virgin sitting down holding child in her lap looking into baby’s eyes and baby looking into hers.

Jan Van Eyck’s The Arnolfini Portrait (1434) is an oil painting on wood, measuring 82.2 cm by 60 cm. It is a small full-length double portrait, which portrays the Italian merchant Giovanni di Nicolao Arnolfini and his wife in their home. It is considered to be a record and sanctification of a marriage contract in the form of a painting. This is seen in the rather formal way Arnolfini holds his wife’s hand and how his other hand is raised, suggesting the occurrence of an oath. A convex mirror resides above the couple’s hands, which is decorated with medallions, show scenes from the Passion of Christ and portray God’s incessant promise of salvation for the two people who are visible in the mirror — they are witnesses of the Arnolfini marriage. The portrait provides clear pictorial evidence of the rank and social status of the subjects. Arnolfini’s wife’s robe is trimmed with ermine fur and is fabricated with an excessive amount of fabric, outlining the couple’s reasonable wealth. Arnolfini’s attire consists of a plaited straw cap and a velvet cloak, which is lined with fur. The absence of gold jewellery and the inadequate chamber size indicate a bourgeois status, however, some of the other objects (stained-glass

In the painting, ‘Virgin and Child’, by Rogier van der Weyden, it can be observed that the artist chose to use the medium of oil on wood. Despite the fact that Rogier van der Weyden created this painting in the Netherlands and was born in Tournai, Belgium, their primary influence appeared to stem from the Italian Renaissance, which had begun to use the technique of oil paintings with increasing frequency by turn of the 15th century. The subject of the painting itself, Madonna and her virgin child, were a common theme in the Renaissance, where religious subjects and topics were the primary choice for any prominent artist during this historical artistic period.

Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own

In the scope of this paper two works of art would be compared and contrasted - David’s Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van Eyck.

Painted on a panel, this painting was done in tempera, a pigment dissolved in egg. The chief medium till the late 1400s, tempera dries very quickly and when it does it gives a flat and dry appearance. This painting has sharp brushstrokes that do not fuse together and the forms have very sharp edges. All this is attributed partly to his style, and partly to the limitations of his medium. Artists at this time did not know much about the study of perspective, and Barna di Siena’s image reflects this flatness and lack of dimension. Not only are there different people on different scales supposedly in the same plane, even individual

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

Jan van Eyck was active since 1422 and died in 1441. He was the most celebrated painter of the fifteen-century in Europe. One of his famous works is “The Last Judgment”. At first sight this work immediately attracted my attention. The painting’s stunning colors and the fact that it reminded me of a previous similar work I have seen, triggered in my mind. The material that is used is oil on canvas, transferred from wood. The size of this work is 22 1/4 *7 2/3 in. (56.5 * 19.7cm).

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.