Virgin and Child with Four Angels by Gerard David Essay

The painting in question was owned by R.H. Love Gallery. The painting is titled “Marlton’s Cove”. In 1987, the R.H. Love Gallery sold 50 percent of the painting to Altman Fine Arts and 50 percent to Andre Lopoukhine. In 1989, Morgold Inc. purchased Altman Fine Arts 50 percent of the painting. Morgold Inc. and Andre Lopoukhine decide to sale the painting. Andre Lopoukhine sold the painting to Mark Grossman in 1990. Morgold Inc. received no payment for the sale of the painting. Mark Grossman then sold the painting to Fred Keeler.

The manipulation of perspective was not only significant for symbolic meaning. It was used as a visual tool in order to create the “magic” that the painting is known for. Because the vanishing point is approximately 5 feet from the bottom of the picture, which is practically floor level, this allows for both the top and bottom of the picture to come together and establishes an illusion of an actual structure. While this “created space” within the picture appears to be real, it is actually just one of the

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

The piece I will analyze from the previously mentioned gallery is Saint George Killing the Dragon by Bernat Martorell which was made in 1434/35. This piece is a painting made on a support of panel with a media of tempera and stucco. The main subject of the painting is a man wearing armor on a white horse. The man on the

The artist used vertical perspective, overlapping, diminishing size, and atmospheric perspective to achieve the perceptual style. The vertical perspective means that the foreground is at the bottom of the painting, and middle ground is in the middle, and the background is on the top. In this painting, the carriage is the closest to the audience, so it is located on the bottom. The mountain is the farthest, so it is on the top. Meanwhile, the artist made objects overlap with each other to creates an illusion of near and far. The trees on the left side of this painting overlaps with the houses in the back. Thus, the audiences can feel that the trees are nearer than house. At the same time, when the tree overlaps with the houses, which also create an illusion to the audiences that the trees are in the front of the house. The author also used diminishing size to illustrate the distant between the objects on this work and the observer. Diminishing size means that objects come smaller as they go farther away. In the painting, the horses are much “bigger” than the kids. It does not mean that the horses are literally much bigger but means that the horses are closer to the audience. Atmospheric perspective means that the objects in the foreground is clear and crisp, and the things in the background is less clarity, and become hazy. In this painting, the color is vibrant in the foreground, and the color becomes bluish-gray in the background. The mountain looks vague, and the horses and the houses are really clear. The artist used all those methods to create the illusion of space and depth and used space and depth to create

The image of the Virgin of Guadalupe, whether one considers only the core image or the image with the additions, certainly belongs to a style of artistic depiction of the Virgin Mary called the Immaculate Conception, a style that became quite popular in Europe, including Spain, during the late Middle Ages and Renaissance, growing in relationship to the development of theological speculation about Mary’s own conception. In the image of Guadalupe, by a mandorla of the sun and standing on the crescent moon.

The subject matter of this piece is the Virgin Mary, the baby Jesus, the young Saint John the Baptist and the angels who are up in the clouds. The Virgin Mary is looking at baby Jesus with the love of a mother. We see her dressed in a long white dress and a long blue robe for cover. We see the baby Jesus wrapped in warm blankets seeming to be enjoying the closeness of his mother. We see the young Saint John the Baptist sitting off to the right wearing a sheepskin, with his hands together, most likely praying to the baby Jesus and the Lord himself. The young Saint John the Baptist is also followed by a young lamb. The angels are watching over the group on earth but enjoying each other’s company as well. We see the angel on the far right kissing the angel to the left of them on the head. The two angels to the far

The art work that I picked is a still life of the Chinese Porcelain Jar. The painter of the art piece is Willem Kalf. The era that it is focused on is the Dutch Golden era. He was born in 1619 and died in 1693.

The general shape is vertical rectangular and at the top it is round headed, the size is 67in. x 46in. The major elements is the wedding ceremony with emphasis on Mary, the

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.

Linear Perspective: Lines can be seen moving towards the center from the Doric pillars and the tiles on the floor. The center is located where the mother is throwing out her hand.

The portrait is about 2 ' 6" x 1 ' 9" (77 cm x 53 cm) in size and is in the original wooden frame. The colors that used in the painting are

The painting is a 24 x 22 inch oil on wood panel painting, done in 1849 Netherlands. It’s size while small is full and grand. Linear perspective is used to show the depth of the thick forest. Most of the people in the piece are set in the foreground, relaxing, and enjoying their break near a stream. A woman relaxed against a large rock, her eye directed at the viewer. Near by are two other figures, washing cloths in the stream. On the right is the dense, dark area which looks like a dense forest. In the middle ground is a small field which two cows are grazing on. Large trees break the view of the clearing and their large trunks and leaves take up most of the space. Golden light streams through the trees, lighting the clearing and the cows. A stream breaks the bright light from the dark forest.

This painting grabbed my attention with the goldish and yellowish coloring of the foggy like substance that the woman with the three babies above the saint seems to be floating in. This painting also called me over to it because of the rounded and blackened corners from a distance they just looked like wear and tear on the painting but upon viewing it more closely I noticed that it is the under passage of an arch that is protruding out from the building that stretches into the background of this piece. The last to things about this painting that drew my attention to it rather than the others were the foggy in the background in the mid-section of the building that flows into the background as well as the colors the Saint is wearing it is mainly black with an orangish shawl over his robes. The coloring of the shawl was interesting to mean because I had not seen this shade of orange used before at all let alone on a saint. Overall this painting really stood out to me because of the constant changes and shocks in coloring it did that I had not seen before such as: the orange shawl, the use of fog to darken and lighten the already black building, the black rounded upper corners of the painting, and the goldish half moon that the lady with the three babies is floating in.

The painting was discovered by the Nazis and was stored in a salt mine. At the top of the painting they have those scribes who describe the coming of Christ, and the moment they predicted it's unfolding underneath the scene. In the painting we have the Angel Gabriel, holding flowers which suggest the purity of Mary. In the piece, there was a clear sign of a conversation between Mary and the Angel Gabriel. It was so intriguing to find the words that are converting are written upward and upside down. And the face expression on Mary apparently gives a sense of confusion almost as she's elaborating hard. The painter impresses me. Marvelously done as if I was flipping a comic book scene without missing a single slide and I was jumping into a particular part; so many small details that are so neat and so divine, it's mind-blowing.