Visual Interpretation Of The Painting 'Day Of Pentecost'

The art piece I chose was a painting called “The Nativity” and it is currently on view at The Met Fifth Avenue in Gallery 952. It is a part of the Robert Lehman Collection. The Date/Era of the painting is A.D. 1400-1600 and the location it was made in was Europe/Italy. It is tempera on wood, gold ground, and it is also metal. The artist of this painting is Lorenzo Monaco (Piero di Giovanni) and he was a leading painter in Florence in the early 15th century. Lorenzo Monaco is known for illuminated manuscripts, frescoes, and panel paintings. His style is filled with luminous color and rhythmic, graceful, flowing lines. In this painting the compositional elements are adapted to the quatrefoil field, and the rich and subtle color harmonies reflect Monaco’s skill as a manuscript painter. What is most striking about the painting is the night time setting, which is suffused with the supernatural light coming from the child and the angel.

The painting has some bright colors on the clothes of the people. The colors of the clothes are mostly pink, blue or red. The background of the entire piece is gold as well as the frame it is in. The frame is very detailed in the spirals and branching off decorative pieces, it looks like the opening to a cathedral. The people are drawn out very well, 22 people in the entire painting. The painting is a 2D painting as well. The lines on the clothing make it look realistic as well as the facial expressions of those in the paintings. The lighting is very bright making it look almost regal. The entire background of the painting is entirely gold. There are also gold highlights in the shape of circles circling everyone's heads in the painting. The painting itself is not too big, not more than 1-2 feet in length and 3 feet in height with the frame included. In the picture there are a lot of objects, there are two musicians with a violin and a harp. Other objects include books, most likely Bibles, a cross, a crown, a huge cathedral like stage that Mary and Jesus sit upon, and possibly a sword.

a Saint, which is a rarity in religious works of art. The saint who he

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

from the true story and emphasized the faith they have for God. “Protestant art focused on humble depictions of biblical scenes and moralistic depictions of contemporary everyday

In the foreground of the painting, a crowd of people gather around the recently resurrected Lazarus. There are roughly fifteen individuals in the crowd in a variety of postures, many of which are contorted and turned away. Furthermore, their forms are painted with considerable emphasis on the way that their respective limbs are bent and twisted which consequently creates a peculiar confined space in which much of the content and action is contained. The outstretched arms and warped bodies of the figures create two diagonal lines which cross over each other in the center of the painting, leading the eye to the primary subject and the focal point, Lazarus. To the left of him is a younger woman looking outwards, contrasting with the focused inward gaze of the crowd. Additionally, the same women mentioned previously also dons a striking white garment similar to that of

The painting, “Baptism of Pocahontas” was commissioned in 1837. John Gadsby Chapman installed the painting in November of 1840. This painting was created during a time when the United States was forcefully expanding westward and had implemented a policy to remove the Indian tribes off their lands. One example of incorporating religious content and context includes Chapman’s focus on the religious ceremony of baptism. This inclusion illustrates the belief among white Americans of this period that Native Americans could be integrated into the white civilization. Pocahontas’ choosing to receive baptism exemplified the promises of this assimilation. Although the painting depicts Pocahontas’ noble acceptance of English religion and culture,

Many artists have created visual interpretations of scriptures such as Reverand Mark Hewitt - Day of Pentecost. This painting is an accurate representation of Acts 2, as Reverand Mark Hewitt displays this through his use of colours whilst conveying strong emotions. 'Day of Pentecost' is most suited to the local Parish as this painting clearly represents the Holy Spirit.

The subject focuses on Christ's crucifixion, but figures exist beyond Christ performing their daily modern activities in a semi countryside landscape and urban setting. Mary and John both stand in contrapposto, balancing the majority of their weight on one leg (Figure 6). At the foot of the cross, bones lie to represent death (Figure 7). There is balance in the picture with each side reflecting each other symmetrically in scale. For instance, the tree in the midground on the left side is the same height as the outcropping of stone on the right side. Mary and John are also a larger scale than Christ and the figures in the midground and background. This involves the use of linear perspective, where objects farther away seem smaller to the eye. The outlines of the figures are less blunt and more realistic in this painting. A viewer can see this in the form of the drapery, which shows the forms of the figures with a slight illusion of motion from an unknown source of wind. Christ's loin cloth seems to flutter in the wind from both sides. The tension in John's drapery emphasizes his agitation, while the thick folds of Mary's drapery demonstrates her grief over the loss of her son (MFA Label). This can be seen through John's eyes looking up toward the body of Christ on the cross, and Mary looking down at the bones at the base of the cross, which represent death. Joos van Cleve emphasized the use of colors in place of atmospheric perspective, which makes

A lot of these people use Facebook and might even use it as a means to spread or demonstrate their faith to their religious beliefs. But does liking a post that reads, “Do not scroll past if you're a true Christian,” make you a real Christian? Does doing something as simple as sharing a post describing a tragic story that God's grace can somehow help if you share it, make you a good Christian? There are no real answers to these questions; however, this is exactly what this painting makes me think about. Taking the most recognizable feature of Jesus Christ, his inevitable return to the earth to save us all once again. This is a very vague concept that most anticipate, but don’t really quite understand, and by juxtaposing it with a common, everyday thing such as a Facebook post, really makes the point apparent and

In the painting titled “Post Apocalypse” by an unknown artist it falls under a landscape painting. There is no sort of balance in this painting, all of the colors look bland and boring and have no depth to them. The only thing that remotely catches my eyes when I look at the painting is the birds flying, but that’s really it. Looking at the painting it’s hard to tell if there is water in the distance or you’re looking at the blue sky. In this painting the main emphasis that I see is the dead two dead trees painted in the front that are almost identical. Another point of emphasis I see in the painting is the birds flying into the distance. The reason they can be a point of emphasis is because they are rather large for being far away and very

A painting captures a single moment. Most of the time, the audience does not see what happens before and after the moment of the piece, but Rembrandt’s Christ in the Storm on the Sea of Galilee is his depiction of Mark 4:35:39, a story that most children learn in Sunday School. Mark 4:35-36 tells the moments before the storm: “On that day, when evening had come, He told them, ‘Let’s cross over to the other side of the sea.’ So they left the crowd and took Him along since He was already in the boat. And other boats were with Him” (The Bible). Rembrandt fabricates the scene of verse 37 and 38: “A fierce windstorm arose, and the waves were breaking over the boat, so that the boat was already being swamped. But He was in the stern, sleeping

It shows the moment that Jesus tells Matthew to follow him and become one of his apostles. The main characters in this painting are Matthew, Jesus, and Peter. There are five young men seated counting money. They are all armed and dressed in fancy clothes. The room they are in almost looks like an old tavern.

The art has various characters in it. Here, three characters are highlighted and made a little bigger that other where we can easily guess that the top person is Christ and the rest

Quentin Metsys was born in Louvain in 1466. He later settled in Antwerp, where he is mentioned in 1491 as a master, and where he died in 1530. At that time, the town was a major trading center and rapidly became the principal city for commerce between northern and southern Europe. Portuguese and Spanish merchants and powerful Italian bankers visited Antwerp for trade, making the bustling city the economic capital of Europe. One consequence of the presence of merchants from all over Europe using a variety of currencies was that large numbers of moneylenders and money changers set up shop in the towns where most of the foreigners traded, such as Bruges and, above all, Antwerp. This famous painting by Metsys, once owned by Rubens, is set in one of these cities.The two subjects are depicted half-length, seated behind a table.