The Annunciation (Cleveland Museum Of Art, Cleveland

In response, the colors draw the viewer to look around at the other figures due to the red and yellow’s intensity. On the other hand, blue is only used for Mary which symbolizes that she is the main focus of this painting. In addition to Mary as the primary subject, she is painted in great detail with her figure highlighted more than others. As the viewer looks gazes away from the center of the painting, other figures become less saturated. For example, the donkey to the right of Mary and the other figures in the top left corner are depicted as insignificant since their clothing is not pure compared to the figures with halos above their head.

One of the most celebrated paintings in the Robert Lehman Collection, this jewel-like representation of the Annunciation is set in an architectural interior constructed according to a rigorous system of one-point perspective. The panel was almost certainly commissioned as a private devotional image, not as part of a larger structure. While the identity of the patron is not known, the work was in the famed Barberini collection in Rome in the seventeenth century.

Both paintings represent the Madonna (the Virgin Mary) with the baby Jesus on her lap. In the previous painting, the arch vault and throne on which the mother is seated is stylized very realistically along with the saints surrounding them are all in proportion to themselves and to each other. In the later painting the pose of the Madonna is elongated and exaggerated, the baby in the later painting is quite large and the angels in the picture are crammed to one side with a "prophet" on the opposite which is very small not coming up to the Madonna's knee.

The figures in the painting take up most up the space. The background is not emphasized. St. Peter’s accuser and the soldier are very close to each other and St. Peter is further away from them, indicating that he is not in cahoots (USE A DIFFERENT WORD) of the accusations. The textures in the clothes of st peter, realistic color. The painting looks more of a picture and the onlooker is right there in the scene too. Oil on canvas provided for the painting to come across more

By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner

In all of van Eyck’s Annunciation works, the Angel Gabriel is the most richly dressed in the Washington Annunciation (fig. 1). He is described as “clothed in heavy brocades, and wears, instead of a simple circlet, a jeweled crown” and emphasis is drawn to his smile among normally stoic Angels in other works by van Eyck. The Virgin Mary is also dressed in fine fabrics and in styles that did not exist in her time of life. Traditionally, “Mary is usually dressed in the elaborate fabrics and styles of current fashion,” and Flanders (where van Eyck lived) was a very rich nation in fabric trade, thus leading to Mary’s rich attire. This was also to protect the virtue of Mary, since a poor, young, Jewish girl from Galilee would have been stoned to death for possible sexual relations outside of marriage in the current 1400s culture.

The Mérode Altarpiece by the Master of Flémalle is an oil painting on 3 wooden panels whose specific date of creation is likely between 1425 and 1430. This hinged triptych is relatively small in size measuring slightly over 2 feet tall and about 4 feet wide with its two winged panels open. The Mérode Altarpiece belongs to a group of paintings associated with a Tournai workshop led by Robert Campin, also known as the Master of Flémalle, whose workshop fostered some of the earliest and most outstanding painters who were pioneers of the new Flemish style. The Mérode Altarpiece’s central and largest panel depicts the Annunciation, when the angel Gabriel visited the Virgin Mary to announce her pregnancy with Jesus. The right panel portrays Joseph in a workshop setting while the left panel shows an image of the donors kneeling in a closed garden. Artwork of this type was made primarily to serve as a visual reminder of scenes from the Bible, specifically

The Renaissance era was a time of "coming out of the dark", implying that it was a time of reestablishment. The Humanism theory contributed to the Renaissance period considerably for the rebirth of education, science, art, literature, music, and a better life for people in general. The theory of Humanism in the Renaissance period is a concept that arose in the 14th century, Humanism was established in response to Utilitarian Approach. Utilitarian Approach is a theory known to be one of the most influential theories before Humanism, classical utilitarianism's two most influential contributors are Jeremy Bentham and John Stuart Mill. The basis of the theory is to question whether actions are morally right or wrong depending on their effects and

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

Within the painting there are multiple figures who are all centered around Jesus. There are some people who are sitting at a table who seem to be eating food. There are others who are around the feast table, some people are playing instruments, some are meeting up with others, others are helping serve those sitting upon the table, and some people at the top of the buildings seem as if they are looking at something above them. There are other items depicted within this painting such as animals. There are animals not only surrounding the people at the table, but there are even some animals shown on the table and on people’s body. There seems to be something above the wedding in which a lot of people are gazing upon, when looking at it, it seems to be a lady at the top of this building but it is unsure of who this

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

Lamentation over the Dead Christ was painted on a 270 x 240 cm wood panel with oil paints in a fresco technique. It is one of the

There are many artworks that portray or are named of the Annunciation, two of these include ‘Annunciation’ by Fra Angelico. This painting illustrates the

In Raphael’s, Sistine Madonna, he was able to create a painting depicting a combination of material and worldly elements within the heavenly, in a perceived dramatic interaction. The stage is seen as the lid of Pope Julius II coffin, while the drawn apart curtains to display the divine action. Raphael also includes two little angels whose expressions are seen as boredom and impatience placed in the painting as for a little humor. But in comparison to the baby Christ, Raphael has baby Christ looking to be caught in the moment, very aware of its significance in the future, and what Christ needs accomplish in the present. Finally, for the Madonna, Raphael portrayed her differently than his usual depictions. The Madonna appears to be looking down and directly towards the viewer, applying a realistically emotion of self-conscious yet tragic and mystical but ecstatic imagery. Raphael successfully is able underline all those qualities by surrounding her frame with a visual light.

Virgin Mary is reading a book, which is most likely to be the bible. This object built the parallelism with the bible story. This element adds the complexity of emotion toward the painting, resonating with her facial expresson.