The Garden of Earthly Delights is the modern title given to a triptych painted by the Early

The author’s use of imagery also leaves the listeners crying at their misfortunes. To fully illustrate the burning, agony of Hell, the author frequently uses the phrases “glowing flames” and “Hell’s wide gaping mouth open”. This depict that Hell is very “hot” to endure

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.

Monsters are challenges that the human race must overcome. In Jeffrey Cohen’s essay “Monster Culture,” Cohen reasserts the presence of the monstrous within society, and its relation to different cultures in a specific time period. All of Cohen’s seven thesis makes sensible arguments that gives the audience a glimpse on what his purpose is. Each thesis are presented differently, but Cohen correlates his ideas to explain the monster’s true existence. The convergence of intellectualism makes a strong connection between Cohen’s appeal to pathos. Cohen utilizes emotion in his writing to mainly appeal to his audience, and give them an idea on what goes on behind the monster’s identity. The final thesis “The Monster Stands at the Threshold of Becoming”

The halo looks to have been carved into the wood and then painted with a little bit of sun gold to heighten its appearance. The lesser portion of the painting has a dark brown color which might have being painted or made from a different type of wood. The base on which the painting stands is painted in dark brown and looks very firm. On the left and right of the arch there are blue colors meant to depict the skies filled with yellow stars. This depiction of the skies is said to be where God the Father resides. In the painting, there are three life like images that are clearly visible. The first one as illustrated in order of importance is God the Father who sits on his thrown that of a chair made from gold. His hair is long down to his shoulders; and he his fully garbed in a mixture of red, white and black being the dominant color. His garments are lined with gold colors and matches his long beard. God the Father hands are partially extended in front of him holding up a wooden cross which displays God the Son.

Garden of Earthly Delights by Hieronymus Bosch is an oil on panel painting and was completed during 1505 – 1510. This particular piece is a triptych since it is three separate panels that form one piece of art. The two outer panels fold inward to create one outside panel with another painting. This writing will only be covering the three inside panels. Bosch’s painting is located in the Museo Nacional Del Prado in Madrid, Spain. The painting stands at approximately 7’ tall and 12’ wide. The painting’s main color palette is mostly comprised of blue, red, and green.

Fear is so deeply embedded in the human genome, as a defense mechanism. It is so old it is coded into the oldest part of the human nervous system. Throughout history, fear has been used to manipulate whole populations into starting wars, revolts, genocides, and discrimination. Never has that been more true than in Adolf Hitler’s Germany, his rise led to the deadliest conflict in human history, World War II. His consolidation of power and control over the people of Germany, can be attributed to using fear as a weapon of manipulation. In the Garden of Beasts by Erik Larson, follows the first American ambassador into this dystopia, and the fear he experiences while there. Erik Larson chose to set In The Garden of Beasts in Hitler’s Berlin to

27. A second painting by this artist is a triptych or three-paneled work. In the first panel, Adam and Eve are being expelled from Eden. In the third panel, there are the tortures of Hell. In the middle panel, a wagon passes through a landscape with all manner of people riding, trying to catch a ride, or being run over, with others walking, standing, or resting along the way. What is this second painting called?

Immediately, my eyes are drawn to Adam and Eve, for they are the largest figures in the painting. All of the characters are stylized to the tune of what the artist wants, for his figures, including the animals, are shown as very muscular, not very naturalistic. This is similar to Michelangelo’s characters, he believed that the mans body is the pinnacle of god’s creation, using the male body as the body of all of his characters, men and women included. These figures are also similar to the Greeks, who were very focused on the human body.

follows previous rules with the representation of divine figures in churches. The proportions of the piece utilizes the hierarchy scale with the most important figure--Christ. The figure of Christ is the largest image shown in the apse, and other figures such as the apostles, the four symbols of the evangelists, and the scenes from the New Testament are roughly the same size. The smallest figures appear in the windows--the sacrifice scenes with Cain and Abel. The artist employed a more decorative aspect to the drapery of the figures than a naturalistic

The left panel depicts the first of three saints, Saint John the Baptist, in the midst of his signature baptizing of Christ. A river flows from the furthest reaches of the landscape down to the bottom frame, with Christ standing thigh-deep in the water, a dove alighting from God perched in the clouds in the top left. Saint John kneels over him on the riverbank while a group of people huddle in the distance behind the baptism scene. In traditional style, the triptych simultaneously depicts a central scene as well as past and future narrative events—present here as Saint John preaching chronologically before the actual baptism of Christ.

The couple's outfits are thick and even have fur, although the painting suggests that it is spring or summer, due to the amount of sunlight entering from the window and the fresh oranges (most oranges are harvest during the spring). The furniture and the drapery is impressive, and the oranges themselves are rare and are therefore a symbol of wealth. The painting also illustrates the relationship between the two subjects through various objects. The painting suggests that the subjects are married. There is a dog in between the couple, which represents loyalty. Both characters have rings on their ring fingers, which suggests that they are both married. Also, the painting shows that both characters have removed their shoes, which implies that they are standing on holy ground, such as Moses was when speaking to god through a burning bush in the bible. The reason they are on holy ground is because a holy ceremony has taken place, that is, a wedding. Notice the characters' body language is composed of the dominant husband and the submissive wife. There is also various references to the newlywed couple's intentions of starting a family. Not only does the wife's attire exaggerate her belly, making her seem as if she were pregnant, but behind here there is a statue of Saint Margaret, the saint of childbirth and fertility. When the individual objects of this painting are viewed as a whole, the message becomes clear. Jan van

Created by Heinrich Friedrich Füger circa 1817, the first painting is an oil painting, originally meant to be a tribute to the Titan, Prometheus, who introduced his brother's creation to fire. This was a painting dedicated to an earth-shattering moment, which is similar to Equality 7-2521, who had used ancient technology from the " Unmentionable Times," which is the time period that we are in now. Equality discovered and tinkered with our "power over the sky" to create a light, in the same way that Prometheus harnessed the knowledge of the gods to show the humans a process that saved their lives. Created by David Zimmerman in 2014, the second painting is a painting, meant to signify the country life- the peacefulness and rewards of living in

When I see the painting the shape is symmetric in the sense that there are the same amount of people on both sides of Jesus. The genre of this painting is Christian art.There are also four panels on both sides of the walls. In my opinion, the target audience that this painting was intended for are those who are believers of Christ. I feel this way because I think that this painting portrays the event that is talked about in the bible in the scripture Matthew 26, verse 21 where Jesus says “…"Truly I tell you, one of you will betray me.". He then continues in verse 23 saying, “The one who has dipped his hand into the bowl with me will betray me”. In the painting, you can clearly see the man two seats away from his right reaching for the bowl at the same time as Christ. This event lead to the Holy Eucharist, also known as communion or the Lord’s Supper where Christ takes the bread which was to symbolize his body and wine which was to symbolize his

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

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.