The Temptation Of Saint Anthony: Master Of The Osservanza

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.

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.

As soon as me and dad got back from saint Anthony's, we had a feeling in our stomach that some thing bad happened and that it had to do with Erik.

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

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

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.

“‘You have no passion. You are not going to make it… I can say to you that the state championship is a month and a day away…”’ (Wojnarowski 227). This what Coach Bob Hurley said to his somewhat deflated St. Anthony Friars in The Miracle of St. Anthony. The Friars were undefeated at this point in the season but there seemed to be a lack of energy in the team with the New Jersey State Championship looming. Because of this, Hurley would give a speech that would bring the team back together for an undefeated championship season. I could relate to this because this summer my sailing team was in a similar situation with the Maine State Championship Regatta just a few weeks a away. My coach gave a very similar speech to Hurley’s which also brought our team together. As a result the team did very well in the state championship.

The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a

After introduction to the CEO class, I am excited to explore the program. After listening to the St. Anthony student's presentation, it became more evident this was for me. As a hardworking, committed student, I know I possess what it takes to be a CEO Student.

The paintings main focus is on Saint Dominic, a male monk. His head is looking down to the right, and his sorrowful face is old and thin. The tan features are square and come to a point. His large round eyes are looking downward at the ground. The depth of the sunken cheek highlights his high sharp cheekbone. A small ear on the left side of his head leads upward into his grey tonsure hair cut. Saint domonic is standing straight with his hands folded in prayer. He is clothed in a large dak brown robe that has

Overall, the dimensions of this painting, with frame, 11 x 8 1/4 in. (27.9 x 21 cm); painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm). This work is done with Tempera and gold on wood, with original engaged frame. The damage caused at the bottom of the original frame is from candles lit before the picture, which was used for private devotion. The painting has a powerful presence despite its size. It captures the eye from a long way, and commands, from a closer view,

The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost touching fingers while they try to reach for one another but seems like they would never join hands. The male figure of the archangel would carry a long feather like pen and it would bow down to the Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in authority because she is standing up and looking down at the Archangel. This creates tension in the painting while we question the social distinction between the two. Looking closely at the Virgin Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and tried to stay away from him. Looking on the left, the Archangel have white wings and there is green-yellowish light that surrounds him and the red clothing on him show that he is there for good news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is unable to accept the annunciation from the angel.

Masaccio in the Holy Trinity fresco in the side chapel of Santa Maria Novella in

had studied by Martin Schongauer depicting the scene of St. Anthony’s vision. It was originally

Giovani di Paolo’s “The Annunciation and Expulsion from Paradise” is currently in the National Gallery of Art in Washington DC. According to the panel next to the artwork, the piece was finished in 1435 CE and made of tempera on panel. This Sienese altarpiece from the start of the Italian Renaissance shows the experimentation of form at that time. Giovanni di Paolo uses golden texture to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout the composition in order to portray the importance of the religious context.