What Does The Kiss Of Judas Represent Humanism

An inextricable quality of ceiling frescoes is their consumption di sotto in sù (translated from Italian to “from below, upward”). That is to say, the viewer must direct their gaze skyward in order to view such frescoes. In the case of Gaulli’s Triumph of the Name of Jesus, the viewer’s gaze is drawn first to this aureate burst—a rapturous burst of light around which floats a ring of what appear to be cherubs. The burst of light casts a spire that points toward the upper bound of the fresco’s ornate cornice upon which lies a cascading banner flanked by sculpted angels and shells. Once pointed by the spire to this upper bound, the viewer may then notice the intricate floral patterns that adorn the cornice, patterns which are not repeated elsewhere in the text. Following the outline of the cornice due counterclockwise, the viewer is led to a disruption of the cornice’s outline by a set of figures on a swirling cloud whose trajectory extends beyond the elliptical

The symbolism behind the parable ‘if the blind lead the blind, they both shall fall into the ditch’ is applied to the bickering faiths. The message could entail that the ‘blind’ have no understanding of the true faith, symbolized by the sightless entourage being led away from the church. It could be thought that Catholicism was held as the truth, and the religious freedom imminent due to the Edict of Torda would draw people away from that faith. This idea can be expanded to fit the whole mankind, and their focus on worldly matters drawing them away from Christ. The positioning of the figures leads the eye, who naturally starts on the left side, through the progression of figures to the one who has fallen. The church divides the painting in the middle, allowing conclusions to be made by the viewer, even without a significant prior knowledge. Morimura’s confiscation and adaptation of this idea changes the thesis for his work. The men are now literally blinded by worldly and consumeristic items, each representing a difference aspect of society. The wealthy are drowned in money and consumeristic desires, governmental strife and war is implied by the soldier, the increasing brutality and evolution of the modern art world by the artist figure, and the ignorant and naive youth of today, being led by their adult counterparts to ruin, is

On September 19, 2015 I visited the Blanton Museum of Art at the University of Texas in Austin, where I observed The Raising of Lazarus by Joachim Wtewael in the European Old Masters gallery. The piece recreates the biblical narrative of Lazarus’ resurrection and demonstrates the exorbitant style of Mannerism popular during the 16th century. Wtewael establishes the significance of the Christ with his application of form through the use of unrealistic contortions of the people, the lines following the exaggerated limbs of the congregation, and the abundant use of the color red on almost every article of clothing.

The ominous figure in the centre of the foreground - Jesus Christ hanging lifeless on the cross, in Luca di Tommè’s ‘The Crucifixion’, primarily catches the eye. The symmetrical arrangement of lamenting figures around the cross, as well as the gilded background, highlight him as the focal point of this artwork.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

Upon walking into Gallery 250 of Boston's Museum of Fine Arts, one will find on the wall a particularly eye-catching piece of art. The piece, set high on the corner of the wall encompassed by pictures depicting scenes from the life of Jesus Christ, is Giulio Cesare Procaccini's The Scourging of Christ. In this piece, Procaccini's masterful use of light and shadows in a technique called chiaroscuro dramatically portray the torturing of Christ, and it is this very application of chiaroscuro that immediately caught my eye. Through his masterful rendition of value, Procaccini successfully evoked within me a crushing sensation of agony. While I did not initially realize that the piece was one of Christ, research enabled me to witness how

In Artwork 1, Mary is placed in the centre of the image between Christ who is on the left and God who is on the right. The Holy Spirit is between the two which forms the Holy Trinity. The composition can be viewed as forming an inverted triangle or heart shape. Mary is the focal figure with an attitude of modesty, reverence and tranquil emotion with her right hand placed upon her heart in which reinforces this. God is expressed as a picture of wisdom as He is crowning the head of Mary with a garland of roses, along side Jesus. The Holy Spirit is present in the image above Mary and is portrayed in the traditional form of a white dove. Cherubs, angelic beings, are visible at the base of the painting which can be interpreted as guards. The use of blue in their garments symbolising heavenly grace in

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

Giotto’s Lamentation was painted in 1305 during the commencement of the Early Renaissance. In the Early Renaissance, we witness a shift away from medieval times. The Early Renaissance brings about huge economic prosperity and social shifts

For My Museum Essay, I have chosen Rogier van der Weyden’s “St. Luke drawing the Virgin” (c. 1435-40). First of all, this painting is an extraordinarily beautiful piece of art, with both meticulous details and true to life emotional state of the figures portrayed. And it intrigued me even more when I found out that there is a very compositionally similar painting by Jan Van Eyck (“Madonna with Chancellor Rolin”).

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

The Leaf from “The Tarleton Hours” verso: St. Philip and St. James facing each other was constructed in Normandy, France in 1430. At this time France was deeply involved in the Hundred Years war, and the English occupied Normandy. During the British occupation in the Hundreds Years War, hundreds of Normans died. Books of Hours allowed a relief from fear, and their owners to be closer to religion, through the psalms and art that was contained inside them and the devotional imagery they evoked, which was an important aspect of life in the 15th century. The pattern in similarities and differences among Books of Hours emerged because Books of Hours were so common among households in the fifteenth century. The Leaf from “The Tarleton Hours” verso: St. Philip and St. James facing each other being in a Book of Hours with multiple artist was unusual. However, there were other artists illustrating one book of hours together. For example, the Limbourg Brothers would often alternate working on pages so each of them would have worked on every page of the book by the time it reached its commissioner. The Limbourg Brothers influenced other artists in the regions they worked in. One such Master was the Master of Catherine of Cleves. The Master of Catherine of Cleves often used satirical iconography