The Great Thing About Art, By Giotto Di Bondone And Duccio Di Buoninsegna Essay

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

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

An artist has the ability to connect with one’s audience through their art and the obscure connotations that appear beneath it, not just the image that lies on the surface. Artists Jan Van Eyck and Caravaggio communicate these implications through their work, utilising symbols and motifs. Van Eyck’s The Arnolfini Portrait (1434) explores the social status of the time, along with the issue of marriage between two unequals. Caravaggio’s The Beheading of Saint John the Baptist (1608) reflects the world of his time’s attitude on violence and the insensitivity of a positive resolution. Although, these two paintings showcase incredible technique and attention to detail, the context is what is integral to the audience’s understanding of their world

The biblical narrative derived for this composition origins from the gospel writings according to St. Luke in “The Holy Bible.” Within his writings, Luke recounts the Passover, Christ’s warning of the betrayal, and the night of the betrayal. On the night of the betrayal, he recounts Christ waking the sleeping disciples, Judas amongst them, explaining him rising to bestow a kiss onto Christ. St. Luke states: “And while he yet spake, behold a multitude, and he that was called Judas, one of the twelve, went before them, and drew near to Jesus to kiss him” (Luke 21:47). Giotto’s fresco directly becomes influenced from this scene, and becomes the point of action he creates within his biblical narrative fresco. His composition marks the beginning of the chaos that clouds Christ’s arrest; illustrating the powerful confrontation Christ and Judas are compelled into. While Christ is depicted unwavering in his pose and expression, Judas is rendered in a furious facial expression and stance. His face is inflated more so than Christ’s, illustrating the swelling of corruption beneath his physical features. He appears almost to gaze hatefully towards Christ, as his eyebrows become fused tightly together and appear to create a tension within his form. He pose is similar to an animalistic stance; he has one hand on Christ’s shoulder to draw him in nearer, while enclosing his long yellow cloak around his figure to envelop him within this grasp. By Judas’ expression and stance, Giotto depicts

We see a continued progression of the use of emotional response in Giotto di Bondone's, The Kiss of Judas, in which we see a stunned, put-off reaction from the Christ as His disciple betrays Him. The sterile, careless expression of former images of the Christ seem to be done away with to expose a very human nature. What artists formerly portrayed as the uncharitably divine became the very touchable, vulnerable, and human Messiah. In St Luke by Master Theodoric, we see an advance sense of humor in the facial expression, off-centered eyes, and sideways glance towards the descending winged ram. These aspects of the image seem complement the spiritual significance of the subject. Humor, naturalism, and vibrant color creates an intimacy that draws the audience into a relationship with the story, thus, making the piece – and the message – real to

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

Artists that concentrated on the Baroque style of painting had an uncanny ability to display their style more so than the artists of the Renaissance era. In respect to their different approach towards shape, room, and work of art, the differences in their styles resulted in dissimilar descriptions. Renaissance and Baroque seem to concentrate towards the treatment of space, appearance, and color. This uniqueness affects the description of a painting and therefore it cannot be seen. More so, than in comparing Perugino's Christ delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio's exchange of St. Paul from the Baroque style.

Cimabue, Madonna and Child with Angels and Prophets (ca. 1280-1290), 12’ 7” X 7’ 4”.

Saint Jerome on the right and Job on the left, are vivid images of the epitome of true devotion and worship to Jesus. As they both have a contemplating stare in their eyes, evoking the acceptance of the death of Jesus Christ. Following their eyes out, it’s clear Carpaccio directed them towards the viewer to evoke the invitational feeling of devotion and respect towards the deceased image of christ. Even

The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.

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.

While studying the 52 scenes depicted in Raphael’s Bible, it is interesting to try to understand his sources of inspiration and what helped him achieving this harmonious design. For that, we will focus on the scenes that show proofs of his inspiration and that can be compared to previous work. In her book, Nicole Dacos shows the two main analogies that can be observed: the Basilica Santa Maria Maggiore and San Paolo fuori le Mura.

     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

When the new upper class movement, Renaissance, occurred in Italy around the 14th century, a revival of the classical forms originally developed by the ancient Greeks and Romans, an intensified concern with secular life, and interest in humanism and assertion of the importance of the individual began. Thus, artists such as Mosaccio and Giotto depicted art that unlike the Middle Ages, showed emotions, feelings, and bright colors, thus demonstrating the deep concern for naturalism in the society. Other artists during the Italian Renaissance period such as Giovanni Bellini began to express their art through secular and religious themes and ideas that were exhibited through landscapes and portraits. As new styles of

Long uses her article to look at early Florentine Renaissance artists and their depictions of Salome and Herodias as dangerous women. She chose four examples from Giotto, Lorenzetti, Pisano, and Donatello and analyzed how they chose to approach the scene. She is especially interested in which woman they blame for the martyrdom of St. John the Baptist based on the choices they made in their work. Because these images share many similarities with Gozzoli’s depiction of the same scene, it is easy to apply Long’s theories of composition and imagery indicating guilt to the focus of my project.