War Pieta And Max Gnesburg's

Artwork 1, The Coronation of the Virgin and Artwork 2, Christ Crucified were created by Velazquez. Both pieces explore aspects of religion and spirituality. Artwork 1 depicts the scene when Mary was crowned Queen of Heaven and Earth. Mary is the mother of the King and the most highly favoured daughter of God. She always obeyed God with her humbleness therefore Mary received the promised “Crown of glory that will never fade away,” (Peter 5:4) as she shared in all His sufferings. This can be seen as a reward for her holiness and perfection of virtues. In Artwork 2, the image focuses on the crucifixion of Jesus, reminding the viewer of the sacrifice he made for this sins of humanity.

Tintoretto’s Last Supper has a very similar symmetrical composition to Leonardo da Vinci’s painting of the same subject.

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

The art work Christ with the Symbols of the Passion, created by Italian artist Lavinia Fontana in 1576. This piece of art, Christ with the Symbols of the Passion, oil on wood, is currently on display in the El Paso Museum of Art. Trained by her father, artist Porspero Fontana. Fontana became an established artist best known for her strong reputation in Bologna for her devotional paintings and for portraiture. This piece of work depicts angels supporting the body of Christ, a scene in which is not represented in biblical scriptures. Symbols of the Suffering and Passion of Christ are illustrated in this painting, these symbols surround Christ. The symbols are the cross, the column in which Christ is tied to, the whip and the crown of thorns .

He took the body of Michelangelo’s Pieta (1500) and used it to create the body of Saint Teresa. However, Saint Teresa is clothed in flowing garments that depict her inner turmoil whereas Jesus is only wearing a cloth. The limp body of Saint Teresa demonstrates that she is giving her life over to God as the angel prepares to pierce her heart with the arrow. It represents that she is passing from one life into the next, a life full of God and the Holy Spirit, much as Jesus is passing from life on Earth into Heaven. Bernini also uses light to illuminate the body of Saint Teresa just as Michelangelo has done with Jesus. They both use light from the surrounding scene, but the difference is that Jesus is reflecting the light from around him due to the polishing and smoothness of the marble while in Bernini’s sculpture, the light comes from a window above to illuminate her face rather than her body that is clothed and creates shadows and

The work presented is St. Lucy Altarpiece, painted by Domenico Veneziano. It was created in Florence ca. 1445-47 A.D. This composition of tempera on a roughly 6 x 7 foot wood panel displays a horizontal scene of Madonna and Child with attending saints and bishops. Designed as an altarpiece, with the intentions of its being displayed before the public, St. Lucy Altarpiece stresses the importance of it’s main characters; Madonna and Child. Veneziano stresses his motives of bringing attention towards Madonna and Child by using physical light and darkness, space, perspective, and even the subjects within the painting to communicate their importance.

The bond between mother and child has been a constant theme in the world of the humanities. While that bond has been the same throughout history, its portrayal in art has varied from decade to decade. Two artists, Artemisia Gentileschi and Mary Cassatt, chose to create pieces based on this bond, but the use of mediums and the influence from religion (or the lack thereof) help to distinguish between the artists and their time periods.

There is no lack of symbolism in Caravaggio’s ‘Martha and Mary Magdalene’. The painting shows the contrast between the two sisters even though they are wearing the same colors. Martha is dressed simply, while Mary is dressed elaborately and provocatively. Mary’s fancy dress is said not to be because of her prostitution, but because of her future loftier spiritual aspiration, in comparison to her sister Martha. Although the way the two are dressed are far from being the only symbols in this piece.

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.

In this artwork attributed to Luca della Robbia made in 1460-70, Virgin and Child with lilies depicts Mary as the mother of God, instead of the queen in heaven, and emphasized the maternal

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.

Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a wide diversity in their representations of the iconic duo. In particular, two works found in the National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John the Baptist and Prophets by an unknown artist (1325-1450) and The Virgin and Child by Paolo Uccello (1435-1440), highlight the transition between Byzantine and early Renaissance paintings of the Madonna and Child, particularly in relation to subject matter, composition, material, style and meaning. Although each of these paintings of the Madonna and Child depicts the same Christian iconography of Mary and Jesus, their differences in composition and style influence their meaning, with each painting reflecting the individual artist who painted it and the different time period during which it was created.

Created in 1489 this masterpiece is made out of pure marble. This sculpture is located in the Vatican City. At first glance this sculpture looks like child dead in a mother's arms, which is correct but there is more too it. The sculpture represents the crucifixion of Jesus Christ. Its shows his mother Mary holding him and he lays there dead. A very little detail that usually goes unnoticed is that Mary is not touching her son directly, but a cloth is between the two. This signifies the Higher Renaissance belief in Neoplatonic, that the beauty on earth signifies God's beauty. This masterpiece is not only amazing by the meaning but the glorious detail that Michelangelo was able to go into with practically a hammer and chisel.

The Penitent Magdalene sculpture by Donatello is a wooden sculpture that depicts a Mary Magdalene. Mary Magdalene's story begins as a woman who lived an unconventional lifestyle. She was considered a very beautiful woman at the time, but she was a prostitute and was considered sinner by the Christian view. Until she had run into Jesus, where her whole life turned around and became one of Jesus's most prominent believers. She had given up her life of sinfulness for one of religion. After Jesus had died she lived a life away from society; some say she lived in the forest, and some say a cave. Either way, she isolated herself for a long time and had barely fed herself, which is what Donatello based this sculpture off of. The details of the sculpture

While Madonna and Child in Glory, created by Jacopo Cione in 1367, depicts woman and infant heavily surrounded by heavenly beings, Madonna and Child with Saint John, painted by Giuliano Bugiardini in 1524, reveals a realistic landscape. This difference in scenery represents how Renaissance art, impacted by a Humanist outlook of artists, focused more on life on earth. Additionally, the earlier portrait of Madonna and Child shows the two beings as ornate, supernatural beings, therefore greater than those of this world, while mother and child in the latter are quite ordinary looking in comparison, with little to no halos. Another comparison is Deliverance of Saint Peter (Sanzio) and The Liberation of Saint Peter (de Bellis). In Raphael’s piece, the angel was given a glowing halo, with Saint Peter standing alongside crowned by a halo of his own.