Summary Of Paolo De Matteis'sThe Adoration Of The Shepherds

This painting also featured Saint Peter and Saint John the Evangelist. Upon first glance, the painting seemed much more realistic than the other painting by d’Arezzo. This could be attributed to the painter’s use of shadows to portray a small amount of depth. Additionally, the painting was much more vivid and colorful than that of d’Arezzo’s painting, which added to its realistic properties. For instance, the blue color of Madonna’s outfit allowed her stand out when placed upon the gold colored background. Also, the small details made the people seem more lifelike. An example would be the fine detail in the fabric, and how it folded and rippled like that of a real piece of fabric. Finally, the more accurate human proportions made the painting more believable. For example, the baby, unlike the other painting, was chubby and did not yet have developed facial features, which made it seem like you were looking at an actual

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.

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.

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.

"The Adoration of the Shepherds" is obviously a religious painting. The birth of Jesus is clearly one of the most important and famous parts in the

There is often a recurring theme of power in the history of art, whether in religious or aristocratic painting. Over the break, I visited the North Carolina Museum of Art in Raleigh, North Carolina to view various works of art. The two pieces I chose to observe and discuss are The Adoration of the Shepherds, Jacob Jordaens, 1657, and The Feast of Esther, Jan Lievens, 1625. Both of these paintings are oil paintings on canvas, but they look drastically different. Power is portrayed in similar ways through the context and details of the paintings, but there are also key differences in both the formal qualities and the compositions. Light, gesture, and adornment are three of the key components in these paintings.

The usage of the lines in this painting establishes emphasis and develops subtle nuances in the structure of the piece. The figures above the sea: namely the cherubs and the large birdlike figure possess thinly defined lines outlining them. The cherub in the top left corner with the string of flower petals has a long-implied line going into the distance. The wings of the birdlike figure in the sky have a horizontal line on the left wing and a curved line on the right wing. This develops the outline and shape of the birdlike creature. The lines that surround the clouds are curved and thinly defined as well. In the bottom, right corner of the painting there is a man whose hand is reached out to touch the chin of the bull. The lines of the rib cage and upper body muscles of this man are very thick. The lines on this man are much more defined than the other people in the painting. This is meant to establish a subtle sense of struggle with this man, while he is attempting to flee the sea. Europa’s

This art interpretation of Peter depicts Peter sitting on a marble seat from the early Renaissance, holding a key in his let hand while his right hand raised as a form of blessing. Dressed in a stole, and wearing a ring and a halo surrounding his head. Due to the presentation of Peter illustrated through the symbolism of the key as well as his extended foot emphasises the amount of praise from individuals as well as trust and faithfulness that Jesus and him had shared with one another.

“The Adoration of the Shepard’s” shows the shepherds gather around the manger where the baby lays. This representation of this scene has stood the test of time in art, but to portray the shepherds kneeling in admiration became much more common during the Counter Reformation, and mainly after the Council of Trent. This preserved Catholic teaching in the mid-16th century. Modernism such as the display of the blessings on the altar for 40 hours of worship encouraged the faithful to meditate on the extraordinary principle that the Son of God became man. The shepherds were the poorest of all man in that time period and yet it was they, and not the Magi who were chosen to be the first human to see Christ as man.

Massaccio’s Holy Trinity shows implied lines and outlines with a one point perspective. The one point perspective is shown by the people and their placement especially Christ at the center point. The artist made the painting ornate and with a sense of joy among the distress. He uses squares to enhance the depth of the painting. The colors as well, create a low temperature with vibrant yellow to help set the tone of the painting.

us from being distracted from the areas of emphasis” (77). The folk surrounding the new mother and baby seem to be the area of subordination.

The characters in this painting include, The Madonna, Christ the infant, Saint Sixtus, Saint Barbara, and two cherubs. Many people interpret this painting as the Virgin and her child looking toward the death of Christ. It is a well known fact that Christ meets his fate at the cross in the book of Luke. The saints Sixtus and Barbara are in the painting to show Mary what her son will be going through. They are also in place to help guide her through her feelings of dread and sorrow. The cherubs are relaxed and waiting for the prophecy to fulfill itself. They are pondering what will come after Christ meets his fate. It is very clear that Mary’s expression is extremely sorrowful. The level of pain that is shown in her eyes paired with the way that

People appeared to have real emotions, allowing the viewer to connect with what the artist wanted to convey within their piece. Hence, Francesca’s artwork is particularly admired for the realistic rendering of the hall in which the flagellation scene is situated in relation to the size of the people and for the geometrical accuracy of the actual composition. Tribute Money by Masaccio emphasize the artist’s use of perspective and its importance during the Renaissance period. The lines within the painting meet on top of Jesus’ head, which is the vanishing point. It appears that the figures are lit by light from the chapel, as their shadows all fall away in the same direction and by incorporating a light from a specific source gives the figures

Frida Kahlo and Salvador Dali were two figures that emerged in the mid-1900s who made their marks on the artistic world through their interpretations of surrealism. Surrealism, according to the Merriam-Webster dictionary, can be defined as “a 20th century art form in which an artist or writer combines unrelated images or events in a very strange and dreamlike way” ("Surrealism”). The overall goal of surrealism is to unearth an idea that lies within one’s mind and imagination, and express it. Moreover, the movement of surrealism began in the late 1910s and lasted until the early 1920s (Ades and Gale). While both Kahlo and Dali were classified surrealists of their time, Kahlo expressed herself through a wide range of tragedy-filled paintings,

Their heads are represented proportionally yet the body of the Virgin Mary is not it is much larger than Christ’s. The reason for this is most likely due to the fact that Christ is laying a crossed her lap, and needed to be supported appropriately. The drapery which appears from Virgin Mary’s lap down gives more dimension and makes Christ look like he belongs nestled in his mother’s lap. The line technique used throughout the sculpture adds to the flow of the sculpture. Virgin Mary’s one arm is rested underneath her son and the other is positioned away from him almost in a position as if she was praying or hoping someone was looking down upon them and the situation they were in. The way the Virgin Mary is looking down at her son makes a focal point from her to her son. When this sculpture is in place in St. Peter Basilica the light streams into the building from three large windows which hitting the sculpture just right will only add to focal points of the sculpture making them even more noticeable. This only draws more attention to her face, and the beautiful features she was given by the artist. Both of the figures have a somber look on their faces which represents the situation they are in. Being as Virgin Mary is now being faced with her child’s death as he is rested upon her