The Temptation of Saint Anthony Abbot by the Artist: Master of the Osservanza, ca. 1435–40. Located at New Haven, Connecticut Yale University Art Gallery. 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
Created by Master of the Retable of the Reyes Catolicos (also known as Master of the Catholic Kings), this is another version of The Annunciation, a very common subject for artists ever since the inception of Christianity. It was produced between 1466 and 1499 as oil on pine panel, and it stands at 60 3/8 x 37in. It is now located in San Francisco, CA in the M.H. de Young Memorial Museum as a gift from the Samuel H. Kress Foundation.
Christ with Symbols of the Passion by Lavinia Fontana is a small but interesting piece. It depicts Christ being supported by two wingless angels between two wingless angels carrying the cross and two wingless angels holding the column that Christ had been tied to after his arrest. At Christs feet are the other symbols of the passion: The crown of thorns, the whip, and the stones that were cast upon him. In the hand of one of the angels carrying the column are the nails that were used to pin Christ to the cross. At the bottom left corner is a what looks like a gravestone or a carved tablet signed and dated by the artist. They appear to be on a path entering a wooded area and a mountain can be seen in the far background. The subject of the piece is “a scene that does not occur in the Christian Scriptures” (The plaque accompanying the piece) but what makes this piece so interesting is the style of which it was painted. It can’t be stated as a full manneristic piece, but it can be said to have mannerisms main features of unnatural proportions, affected poses, spatial ambiguity, contextual ambiguity, compositional complexity, unnatural palette, and high anxiety varying degrees.
Upon walking into Gallery 250 of Boston's Museum of Fine Arts, one will find on the wall a particularly eye-catching piece of art. The piece, set high on the corner of the wall encompassed by pictures depicting scenes from the life of Jesus Christ, is Giulio Cesare Procaccini's The Scourging of Christ. In this piece, Procaccini's masterful use of light and shadows in a technique called chiaroscuro dramatically portray the torturing of Christ, and it is this very application of chiaroscuro that immediately caught my eye. Through his masterful rendition of value, Procaccini successfully evoked within me a crushing sensation of agony. While I did not initially realize that the piece was one of Christ, research enabled me to witness how
The ‘Christ in Majesty’ page (fol. 796v) has attracted a great deal of scholarly attention over the years. Given that it shows Christ flanked by two angels, surrounded by circular bands and enclosed within a ‘jewelled’ border, there are many elements for the art historian to consider. Unfortunately, the portraits and symbols of Matthew, Mark, Luke and John have not been furnished with the attention they so rightly deserve. This paper will revisit these images and attempt to place them into a wider artistic context, thereby suggesting further theological meanings to the contemporary religious. It will also highlight the result of recent photographic work on the page, conducted under ultraviolet light, which has uncovered much more about the design of these portraits than has previously been known.
Throughout history, art has been made to depict not only the life and culture of the time, but also as a reminder of important religious events of the past. One religious event in particular, which artists of multiple eras have chosen to paint is the iconic “Saint Francis in Ecstasy”. Two prime examples of this can be seen in New York City. One painting made around 1476-1478, by Giovanni Bellini, entitled “Saint Francis in the Desert” (but also referred to as “Saint Francis in Ecstasy”), was created in Venice using oil and tempera on poplar panel. The painting is 49 1/16 x 55 7/8in. and now stands in the Frick Collection. (Museum Wall Card) Slightly larger in size at 77 x 53 1/4in., is a second “Saint Francis in Ecstasy”, painted almost two
In the present day of technology virtual reality is becoming a new trend. The ability to explore places without going there for real. Ray Bradbury famous author of predictive science fiction wrote a short story on the use of technology in such a way. The Veldt by Ray Bradbury tells the story of a family of four, two kids and their parents. The story focuses on a piece of technology known as the nursey which create virtual scenery for the kids, but the parents begin to suspect something wrong is going on with it. Ray Bradbury does a fantastic job of conveying the sense of detachment of the family due to the presence of the nursey and the house’s technology. The Veldt does good job of satirizing technology and its consequence on family interaction or human interaction in general.
Christian artwork is used to represent and symbolise the Gospel and important figures. Not all individuals could read and write, therefore images were very important in delivering messages and teachings. One artwork chosen is “Annunciation” by John Collier created in 2003. This modern artwork shows Gabriel asking Mary if she would become the mother of Jesus. The other one is the “Holy Night Nativity Scene” by Antonio Correggio created in 1530, which focuses on and sets the scene of Jesus’ birth.
There are twelve figures in this painting. The figure are arranged in a triangle shape with Mary, the Blessed Mother, and the child Jesus at the top as the focal point. The viewer’s eyes are drawn towards the Madonna and the child Jesus for yet another reason due to the deep red curtain that drapes behind them. The Madonna is seated on a throne with the infant Jesus in her lap, and seems to give authority to Saint Dominic with mere gesture of her hand. Saint Dominic is dressed in the usual habit of his order, holding a rosary. Saint Dominic, Saint Peter Martyr of Verona, who appears to be bleeding from his head, and two other friars are the next level of figures in this pyramidal structure. The faithful poor with their dirty feet and the
Question One The artwork Temptation of St Antony was created in the 1470s by Martin Schongauer. There are numerous content and visual techniques used in the artwork that are vital to making viewers understand it. The artwork shows grotesque demons are surrounding St. Antony. The curves of the positioning of the demons portray movement, as well as, energy.
Masaccio in the Holy Trinity fresco in the side chapel of Santa Maria Novella in
The life of Saint Anthony was vividly pictured in the narration of his life by no other person than St. Athanasius. In St. Athanasius’ description of St. Anthony, he explored all areas where St. Anthony was modeled as a saint. In light of this, the thesis for this essay states that classical genres to which St. Athanasius modelled the Life of St. Anthony is autobiography/biography, mythology and adventures.
Hemingway’s works for almost a century have been deemed sexist under the scrutinizing eyes of some readers. They stake their claims around examples such as: shorter scene length and tension in dialogue with women compared to more generous length and easier-going conversations with men, protagonist comfort level between men versus women, and sentence flow when women are involved. Critics rebuke said statements by saying although there are definitely sections of text that contain these accusations, there are other examples that show equality between men and women. Hemingway was not gender biased, but his life experiences and personality greatly affected his works, which makes sense due to his personal lack of connection and uneasiness with women (Torma).
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
When studying and discussing Classical Greece, the topics that first come to mind are likely to be its cultural and economic efflorescence, its range of tyrants, or Greek religion. While it may not be the first matter discussed in Classical studies, love and sexuality were a major factor in the lives of ancient people, just as they are today. Sources from this period can help us gain insight on the role of these factors during this time. These sources include the poetry of Sappho and Plato’s Symposium. This paper will explore the representations of love and sexuality passed through time using these sources that help create a more complete picture of Greek society and culture.
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.