St. Martin Of Tours Dividing His Cloak Analysis

Created in 1489 this masterpiece is made out of pure marble. This sculpture is located in the Vatican City. At first glance this sculpture looks like child dead in a mother's arms, which is correct but there is more too it. The sculpture represents the crucifixion of Jesus Christ. Its shows his mother Mary holding him and he lays there dead. A very little detail that usually goes unnoticed is that Mary is not touching her son directly, but a cloth is between the two. This signifies the Higher Renaissance belief in Neoplatonic, that the beauty on earth signifies God's beauty. This masterpiece is not only amazing by the meaning but the glorious detail that Michelangelo was able to go into with practically a hammer and chisel.

From my trip to the art museum the piece which stood out the most to me throughout the entire experience was David Ghirlandaio’s Altarpiece showing the Virgin and Child, with Saints Apollonia and Sebastian. The work of art specifically depicts an example of a sacra conversazione such as the ones we have looked at in class. This piece was made specifically in the 1490’s or the Early Renaissance time period and directly came from Florence, Italy where it was commissioned by the church as an altarpiece. Ghirlandaio specifically used tempera and gold on panel for this painting which he made in his family enterprise. Overall, the painting is roughly five and a half feet in length and height and is an excellent example of the type of works one would expect to see out of the Early Renaissance time frame.

This painting was created by the artist Parmigianino in 1534–1535 during the Renaissance & Mannerism time period in Florence, Italy. The painting is oil on wood. The painting portrays the Virgin Mary placed on a high pedestal in extravagant robes, holding a very large baby Jesus on her lap. Next to her are a few angels showing interest in the baby Jesus. In the lower right-hand corner of the painting shows the emaciated figure of St. Jerome. A representation of St. Jerome was required by the administrator because of the saint's relation with the adoration of the Virgin Mary. The Madonna with the Long Neck is a portrayal of the Virgin Mary who seems to be very disproportioned.

The respective piece is ‘The battle of Anghiari’ also sometimes referred to as ‘The Lost Leonardo’. Researchers seem to believe that this treasure is hidden behind one of Vasari’s frescos in the Hall of 500.

The work presented is St. Lucy Altarpiece, painted by Domenico Veneziano. It was created in Florence ca. 1445-47 A.D. This composition of tempera on a roughly 6 x 7 foot wood panel displays a horizontal scene of Madonna and Child with attending saints and bishops. Designed as an altarpiece, with the intentions of its being displayed before the public, St. Lucy Altarpiece stresses the importance of it’s main characters; Madonna and Child. Veneziano stresses his motives of bringing attention towards Madonna and Child by using physical light and darkness, space, perspective, and even the subjects within the painting to communicate their importance.

Michelangelo Merisi de Caravaggio’s The Denial of St. Peter depicts the accusal of Peter for being a disciple of Jesus. Painted in 1610 on oil on canvas as was the emerging medium of paintings during the Italian Renaissance. It is on display at the Metropolitan Museum of Art in the Caravaggio and Southern Italy room in the European paintings department. Caravaggio’s piece is relatively medium sized and place directly at eye-level.

The art piece that caught my attention was at the Nelson-Atkins Museum of Art. The piece is called The Adoration of the Magi, painted by Girolamo de Carpi. The Holy Family and the Three Magi’s are illustrated in the painting. They seem to be sitting outside on the ground behind a home made of brick. A sense of space and perception is created because in the distance, behind the people in the painting there is a beautiful view of a mountain and the sun in the sky far from where the people are. In the artwork, de Carpi paints clothes on each person besides baby Christ, and the clothing differ in color; there is red, green, yellow, blue. The colors seemed somewhat bright, in a way indicating that the painting is representing a happy time. Also painted are horses depicted behind a short wall, next to the horses seems to be a servant giving one of the Magis a vessel of some sort.

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a

The artwork I have chosen is Artemisia Gentileschi’s Judith Slaying Holofernes, in particular the version which is currently hanging in the Uffizi Gallery in Florence. Dated around 1612-13, the painting depicts the biblical Judith at the moment of her decapitating Assyrian general Holofernes. Gentileschi is reported to have done this painting as a commission for the Medici family. The painting starkly differs from previous versions of the scene, particularly the influential version made by Caravaggio, as Judith is less detached from the violence of the scene but rather actively participating in it. Gentileschi’s Judith is seen physically putting her weight to pin Holofernes down, and her facial expression is determined instead of afraid or disgusted as previous depictions portray her to be.

Known as one of if not they best artists of his time Francesco Guardi is quite the artist. he is known for his later works, one of his bests know as the doges feasts which was a 12 canvas set of pure beauty. The painting was pictures of the election that took place in 1763 with the election of Dodge Alvise IV Mocenigo. Guardi captured this amazing moment for the future to witness, the election is a massive thing in italy. Its compared to the election in America but almost 2 times more bigger, its no joke to italy and he was there to capture and give the future a vivid

In the process of researching this piece I was able to learn about the Master of Monte Oliveto and the fact that he was anonymous. All we know of this painter is that he was an anonymous Ducciesque painter that had to have learned in Duccio’s workshop. “The Master of Monte Oliveto has traditionally been thought of as a close follower of Duccio’s, and it is thought that he worked in the workshop actively from about 1300 to about 1320” (TheMet Online the Master of Monte Oliveto Essay). What we do know is he was an artist in Italy, Southern Europe trained amongst the best. While the artist remains anonymous the religion represented has surpassed time it seems. Christianity is world wide spread and I love that this piece depicts maternal

He made this sculpture in 1408. It was originally made for a spot in the Cathedral, but ended up in the Palazzo Vecchio as the symbol of the defiance of authority of Florentines. The type of style to create this statue was the Gothic style. The statue is currently in the Galleria dell'Accademia, Florence.

     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

Tintoretto began The Last Supper in 1952 and completed it in 1954 (Pallucchini). It is an oil painting on canvas located in the Church of San Giorgio Maggiore (Pallucchini). This painting is absolutely gorgeous, so I am glad it is displayed near the altar of a church for everybody in Venice, Italy and tourists that visit there to see. I would love to be able to take a trip to Italy and experience seeing this work of art for