The History Behind the Painting St.Paul’s Shipwreck Essay

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.

The painted scene takes place moments after John the Baptist is decapitated. The background is tranquil, clean and organized. In the background there is a man casually walking in the near distance. Additionally, there is a sky of blue, a checkered ground and four more individuals. The individuals

The scene of this painting is a part of a predella for the altarpieces done by Raphael. It was removed in 1663 with the piece of a piece that showed Christ carrying a cross. The painting was done in black and

“…the scene is so powerful, so vivid and tangible, that it is easy for it to become the window through which we view and engage the concept of Paul’s conversion.In truth, however, we know that that singular moment as dramatic and important as it proved to be, was only the first instilment of the conversion of … Paul.[4]”

Dr. King’s trial was one of the most unprofessional investigations in my opinion. The steps taken to obtain physical and forensic evidence were not normal procedure. The FBI and local police did not secure the forensic evidence and protect it like in our present time. Fingerprints are a form of forensic evidence to identify an individual in association with the findings. Francis Galton classified many fingerprint patterns before Dr. King’s assassination but they took it more serious on how they collected the evidence.

The Merode Altarpiece, a piece by artist Robert Campin, is a representation of the Annunciation of Christ. The piece was originally painted in Flanders during the Early Renaissance period in 1425. It is a considerably small altarpiece, commissioned for a private residence, created with oil on wood panel. The piece is currently held in the Metropolitan Museum of Art in New York. The scene depicted in this particular altarpiece is very popular among artists during the Renaissance and the detailed representation captured by Robert Campin made it one of his most famous works of art.

This paint of Saint Anthony is certainly has a measure of 38.4 x 40.4 cm, Saint Anthony has a crown with brilliant gold color he is simply just dressed in a black robe and what stands out is his beard as it is long and shows how the saint is old, and the loss of his hair with the past of the years we can see that he carries a rosary on his belt, we can also see that he does not use any shoes and he walks barefoot. To his right, Another feature of originality of these Temptations is the artist shows the demon she seem calm who is covered by a pink dresser, and a blonde hair you can see

Michaelangelo Merisi da Caravaggio’s “Beheading of Saint John the Baptist” is one painting that attempts to capture the moment of John’s murder. Caravaggio, an Italian painter, made this piece in 1608, following the Renaissance, and it is now located in St. John's Co-Cathedral in La Valletta, Malta. Caravaggio’s beheading of John the Baptist dramatizes the story, emphasizing the emotion and elaborating on the theme of Earthly

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 iconographic representation of the Madonna and Child is one of the most common representations in Christian art. The term “icon” in this context is a reference to a holy image to which special veneration is given. While many works by many artists depict this subject, through their various differences we can chart a change in artistic as well as Christian ideals through the 13th-15th centuries. During this period artists and scholars broke from Medieval thought, philosophy and representations in art and began to embrace the ideas of humanism. From Giotto’s early renaissance interpretation of The Madonna and Child, to Domenico Veneziano and finally Hans Memling’s Flemish rendition we can see how technique, interpretation and styles changed through the renaissance.

The work of art I choose is an oil paint by Defendente Ferrari. As an altarpiece showing the Virgin and Child, this art work reflects refinements of Italian High Renaissance art. Thus, this essay would focus on this oil painting and then make a visual analysis on it. First of all, this work of art is painted by oil and gold on canvas.

I am introducing Pietro Perugino’s artwork, Christ Deliver the Keys of the Kingdom to Saint Peter, as it is the most moving painting that effectively mirrors the social, cultural, political, as well as the philosophical scene from the Pre-modern era. This fresco painting can be seen on the north wall of the Sistine Chapel.

This extraordinary work by Carpaccio is a landmark in the history of devotional images. It is, in effect, a meditation on the them of Death and Resurrection. To the right, the Old Testament figure Job sits on a block inscribed in pseudo-Hebrew, while on the left, portrayed as a hermit, is Saint Jerome (ca. 347 -420), who wrote a commentary on the book of Job. Christ’s dead body is displayed on a broken throne, also inscribed in pseudo-Hebrew. A bird—symbol of the soul —flies upwards. The landscape, barren on the

El Greco’s Lamentation of Christ is “a translation in paint of Michelangelo's late sculptured group of the Pietà in Florence Cathedral, at the time in Rome. The pattern and the feeling are the same. The figures of the Dead Christ, His Mother, Saint Mary Magdalene and Joseph of Arimathea make one compact group. Michelangelo achieved this by his new treatment of form; El Greco by paint, by employing broader, more continuous passages of color. The more vivid colors of Rome combine with the richer palette of Venice to convey the intensity of expression demanded by the subject. The horizontal composition of Venice, more suited to a narrative type of subject than to the single image, is given up and is only very rarely found appropriate in Spain. Michelangelo's Pietà group was not the only source on which El Greco drew: the arrangement of Christ's legs and his outspread arms, no less than the idea of viewing one of the two bearers of his body from the side and the other from behind, derive from Michelangelo's drawing for Vittoria Colonna, in which, as in El Greco's painting, the Virgin is placed behind and above Christ.” (Web Gallery of

This piece looks toward the beaten, contorted body of Christ, who is being presented to the people of Jerusalem before he was crucified. This forceful painting was probably an altarpiece. It was meant to appeal to the viewer’s emotions. Inspiring empathy and reverence for Jesus’s suffering. The calm resignation on Christ’s face contracts with the agitated expressions of the other figures in the painting. In this way, the painting offers a means to contemplate our own humanity and Christianity’s ultimate promise of eternal life after death.