Virgin And Child With The Young Saint John The Baptist And Angels Summary

The painting focuses on the Virgin Mary and two children; one we know is Saint John the Baptist from the title. We can assume that the

perspective on the columns and on the tiled floor gives the feeling of looking back into

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.

As I first examined this work, I could not focus on just one portion of it. Although each part tells its story, there it one overall explanation. As usual, I am drawn to the center of this piece which would be a man sitting in an oval like throne. With a closer look, I look at this man and see a cross behind him, with angelic figures in the background. I conclude this important

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

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

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

Introduction Mary Magdalene is an inimitable protagonist and one of the most mysterious, important, controversial and beloved women in the whole entire Old and New Testament of the Bible. Her life story is unique as well as analogous to many other women in the Bible including, Eve, Naomi, Ruth of the Old Testament and the Mother of Jesus, who’s personas are whispered faintly and spoken sparingly about by the Gospels of New Testament. One reason for this disparity is because woman played a very subservient role in the social, political and historical aspects and events in Biblical times. The women of the New Testament have not advanced much above the customs set for previous generations of women in the Old Testaments male-dominated society.

The Crucifixion With The Virgin and St. John the Evangelist by Rogier van der Weyden, is a painting that includes the characters: Jesus, Virgin Mary and St. John. It includes two panels that relate to each other. The left panel illustrates Mary, as if falling with grief, has her hands together, and her legs bent like they have given up on her, and her body leaning backwards. St.John is also in the same panel, leaning forwards to help support Mary but his face seems distracted by the crucifixion of Jesus in the right panel. Jesus is crucified on a cross in front of a red cloth hanging over a grey stone wall.

The “Virgin and Child before a Landscape” was one of the paintings from the renaissance period. It is a picture of the virgin Mary nurturing the

The Calling of St. Matthew, is a painting created in 1600, by Caravaggio. It was created using oil paints measuring 127 inches by 130 inches. The painting can be found today in the Contarelli Chapel in the french church San Luigi dei Francesi in Rome. It is located in the chapel with two other paintings by Caravaggio, all about St. Matthew. The painting is telling a story from the Gospel of Matthew.

La Vierge Assise Tenant l’Enfant is a religious statue of the Virgin Mary holding the Christ Child, attributed to the second quarter of the fourteenth century, and is now located in the Musée du Louvre. The statue is made from stone, but the drapery develops from the early medieval period into the complex naturalistic style of gothic age, making the medium seem light and sculpted instead of carved. The Christ Child and the Virgin form a new relationship in this sculpture, a more intimate relationship between mother and son, as shown through the symbolism of the dove and the interactive actions taken by the Christ Child. The realistic drapery and the evolving relationship between the Christ Child and the Virgin Mary indicate a shift in style from early medieval of the twelfth century and later medieval during the fourteenth century.

The Marriage of the Virgin by Raphael was produced in 1504. It is an oil on round headed panel. It was originally located in a church called Citta de Castello in Italy before; it is now in the Pinacoteca di Brera, in Milan, Italy. The painting is biblical, showing the marriage of Mary and Joseph. The artwork is symmetrical through one point perspective, color, and landscapes. It is realistic through the brushstrokes, texture. The Marriage of the Virgin by Raphael shows the balanced, symmetric, and realism look through brushstrokes, light, space, texture, color, and line.

The Virgin and Child was created by Barnaba da Modena in 1360, and is deemed Gothic in style. It depicts The Virgin Mary holding a Child Christ in her arms, and rests undamaged to this day in Boston's Museum of Fine Arts. In terms of formal elements, it is 39.4 inches in height and 24.8 inches in width (100 x 63 cm), a religious painting executed by means of tempera on panel. The enduring framing edges might indicate that the painting was initially planned to be the central piece of a polyptych. A first impression is that of anachronism: its opulent golden background and the intricate striation outlines on the Madonna's mantle seem to indicate a much earlier conception, mainly Byzantine in nature. However, the Byzantine herring-bone pattern is clearly endowed with a more modern linear roundness.

Mark 5:25-34, Jesus and the Bleeding Women. This is the scripture passage that I have chosen to discuss the reality of how women were marginalised in the world behind the text, the world of the text, and the world in front of the text. This passage is about a woman with extended menstruation, who had been bleeding for 12 years, in which she had to stay in her home according to the Jewish law. She believed she could be cured if she touched Jesus, so she did exactly this by coming up behind him in a crowd. She was instantly cured but she felt like she had taken the power away from Jesus, so she immediately owned up, and told him the whole truth, thinking she, herself had just done something completely wrong.