Wedding At Cana

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

The two main characters in the painting display elegant mannered poses and all the figures appear arranged in rather unnatural poses. There is a small scene at the foot of the Saint Catherine and Christ figures. This is thought to be the Christ child with the Virgin Mary and grandmother, Saint Anne. Below these two scenes are three smaller bordered scenes. The central one depicts two enemies reconciled by an archangel and the outer ones show Saints Michael and Margaret fighting demons. All these images show the triumph of good over evil, with the middle characters shedding their weapons and embracing. All these small pictures support that the painting was commissioned by Arigoi di Nero Arighetti to celebrate the end of a feud.

The love of marriage is shown in the small myrtle flower lying beside Venus, the flower petals and shell above her head are both said to be in connection to marriage. What's also very important to the painting is the way the bodies are positioned and what they are doing. Venus lying down placing her hand amongst her chest, this further resembles the institution of marriage in partnership and brings forth desire. Cupid on the other hand, which I was curious about, is peeing in Venus’s direction, through an ivy plant which is mentioned to represent fertility. On the Museums website this act along with the veil, crown, and pearl earrings, represent fertility referenced by “Italian Venetians”. What I found most interesting about this painting is the tiny snake near Venus. Why is it there? Especially in a painting that resembles marriage. The museum website mentions that this snake reveals the “darker aspect” of marriage. That is, “illicit”, not approved of. I also wondered about the rod that lies near Venus, and the website does say that it is most likely used to discipline Cupid. Nevertheless, the meaning of the painting is marriage as a happy institution, the museum also mentions that the message of “epithalamia” is conveyed as necessary, and that marriage is something everyone must do, and experience, and that this is in our nature to do so. Which explains the very natural

Nathaniel Hawthorne’s The Scarlet Letter captures the power of unrepented guilt and its ability to dominate the thoughts and actions of an individual. The destructive influence of guilt manifests itself through the suffering of Arthur Dimmesdale, a highly respected Puritan minister who is guilty of committing adultery with Hester Prynne. As a consequence of their illicit affair, Hester gives birth to their daughter Pearl, who serves as a living reminder of their crime. Although Dimmesdale’s sin remains undisclosed to the public, he is repeatedly tormented by Hester’s former husband, Roger Chillingworth, and falls victim to the mental anguish brought about by his guilty conscience. The minister continually attempts to atone for his sin and

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

“From prostitute to sibyl to mystic to celibate nun to passive helpmeet to feminist icon to the matriarch of divinity’s secret dynasty.” (James Carroll “Who is Mary Magdalene”) What we know for sure is that Mary Magdalene was a former sinner that became a leading figure in Jesus’ followers. She stayed by Jesus’ side, to the end, she visited him at his tomb, and was the first person that Jesus “appeared after his resurrection and the first to preach the “Good News” of that miracle.” During the time period of this painting Mary Magdalene, a sinner and prostitute, illustrated “the very essence of spiritual conversion.” (Ebert-Schifferer 63) It’s no stretch to say that the painting is meant to show the moment at which Mary changes her ways, and becomes “married to the word of god”. The conversion of Mary was a new concept to Rome, The book “Caravaggio: The Artist and His Work” claims that this painting is the first to depict it.

The braided hair and ribbons of one of the grieving woman’s hair, small sprigs of foliage adorning the platform of Patroclus’ bed, the Greek ships silhouetted in the background, and the inclusion of Achilles’ armor all contribute to the Classical theme. It is as if Taillasson is trying to convince the viewer, through these scattered Classical elements, that this is indeed a true Classical painting. Perhaps he thought it was. However, time begs to differ. In the grand scheme of art history it is not a pure of perfect example of a Classical work or a Rococo. The composition and theme of the painting - an apparent use of horizontals and verticals on angular planes and a theme relating to myths of antiquity - are markers of the Classical. The colors, brushstroke, and poses/treatment of the body - soft pastels, loose and fluffy strokes, and relaxed figures - are that of Rococo. Overall, the painting is an example of the space of time between both art periods. Those trained in Rococo, like Taillasson was, were trying to maintain the techniques they were taught. In this work Taillasson is conforming with the newly popular Classical style, but only in intention not result. The subsequent work created still clings to all things

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Jean-Leon Gerome painted Pollice Verso in hopes of created a realistic portrayal of not only a gladiator battle in the coliseum, but also the values of Roman society. Through his research on the Roman's, his devotion to accuracy, his use of lighting, and his use of perspective, Gerome succeeded in accurately depicting the values of Roman society and in expressing the full emotion of the scene of Roman society to the viewer .

Veronese was a painter fond of the Mannerist style in the High Renaissance era. As he aged, art and religion were important aspects of Veronese's life. He fully embraced the traditions and regulations of his God and was even commissioned because of his talent and devotion to the church. While a teenager, many church officials in his area asked Veronese to paint important works of art in their churches. The Giustiniania family esteemed Veronese so highly that they wanted him to paint inside of their Roman Catholic

Also, the Bible is open to the prologue of the Gospel of St. John. If the Bible had been open to the second chapter of the Gospel of St. John, which tells the story of Christ blessing a wedding, then the scene may be appropriate as an effigy but as it is painted the scene is not traditionally appropriate for a wedding. Luigi de’ Rossi also reportedly attended the ceremony in Florence, making it odd that he would be included in a supposed effigy meant to represent the three men in their absence. Some of these reasons have been discounted in order to maintain this interpretation behind the commission of the painting. The first being that the portrait was first painted to be a state portrait of Leo X with a green backdrop, but upon learning that he would be unable to attend the wedding of Lorenzo de’ Medici was transformed into an effigy by Raphael and because the two cardinals were also supposed to

Collins explains that coaching is about action so putting coaching into action is a key goal to see success in the client that the coach coaches. For the author of this paper to be able to use this skills and tools that are given from the book to be placed in acting when helping individuals to reach their full potential and goals. To be able to do continue to do this is to continue studying and learning about coaching. One goal is to become a certified coach and having a specific coaching area to focus on. The author of the paper is going to study the different type of coaching till she finds her true desire or niche. This will help the coaching progress to be more successful for her and the clients. To be able to do this, she is going

In Charles Dickens novel, Oliver Twist, Dickens portrays the hardships of people in poverty during the Victorian era through Oliver and various characters throughout the novel. Oliver is born into a workhouse with no name where he is starved, beaten, and treated like a prisoner during the first ten years of his life. Dickens makes all his characters in the novel “…either a jailor or a prisoner, like Dickens himself both, the author and his turn key” (Lepore). Two characters that are both exemplified as prisoners throughout the novel are Oliver and Nancy. During Oliver’s younger years, he is under both the Parochial and Fagin’s reign. As for Nancy, she is depicted in certain ways as a

The painting was a commissioned work for the Medici Family of Florence, a powerful political and financial family which would later go on to become an influential royal house for centuries. Throughout the painting, there is evidence of movement and a prevailing sense you

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this