What Is The Difference Between The Iszantine Crucifixion

This paper will analyze the iconography of the mosaic, Good Shepherd (lunette, Oratory of Galla Placidia, c. 425-26, Ravenna, Italy), that is located on the lunette over the north doorway of the Mausoleum of Galla Placidia, Ravenna. The iconography has been one of the most recognized and admired works of art since the 3rd century AD. In the mosaic, the artists present a depiction of Christ symbolic and traditional of Byzantine art during the conversion of Christianity in Roman provinces.

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.

“Hieronymus Bosch was one of the most fascinating and puzzling artists in history- a unique artistic personality who nonetheless typifies the Renaissance era in the emergence of distinctive personal styles”, in the words of Fred S. Kleiner (257). The painting I chose do my term paper on is titled, The Arrest of Christ. Painted in the year 1515, by the artist Hieronymous Bosch, in oil and tempera on a panel. It currently hangs in the San Diego Museum of Art in Balboa Park. The Arrest of Christ painting depicts Christ’s peace transcending his circumstances and the balance between good and evil. In the first part of this paper I will give a formal analysis of the painting

The symmetrical appearance of the work was also common in Southern pieces that rooted back to the Greek’s advances in mathematics, while the realistic human anatomy roots to the newly acquired humanistic values in art. There is a clear focal point of Mary, with the addition of a subtle triangular composition created by the Mary, Jesus, and St. John. This composition creates order, which is more appealing than a painting with chaos and no clear focus. The trees and pathways in the background also seem to be proportional to the sizes of the three characters, diminishing in size as the picture recedes. This creates a visually appealing tone to the work of art, as for the brain does not have to atone for the abstract and surreal. The bodies are realistically portrayed, which again, adds to the curiosity of Southern artists had of true human anatomy. Mary has a figure, a popping bosom and stomach are not typically seen in a depiction of her. Jesus and St. John both have noticeable baby fat around their arms, legs, and stomach, which is unappealing for a piece of art, but is still

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.

Masaccio’s fresco the Holy Trinity, is located in a church of Santa Maria Novella in Florence. He used knowledge of Brunelleschi’s one-point linear perspective to give an illusion of three dimensional space. Classical orders for the architecture give the illusion of a stone funerary monument. Christ muscles are shown in a realistic way that his body would look hanging on a cross. His body has been wounded and his loin cloth is clean and white. The Christian doctrine of the trinity is shown as God the Father, a dove to represent the Holy Spirit, and Christ as the son. The Virgin Mary is seen gesturing towards Christ indicating that the path to salvation is through the trinity. John the Evangelist is present with his hands clasps as in prayer. There are two donors that are shown on the edge of the fresco that appear to be looking in toward the crucifixion scene. Masaccio’s use of light and shadow in the robes give the figures a roundness to suggest they take up space. The viewer would be looking up at the barrel-vaulted

Vittore Carpaccio’s symmetrical input truly served it’s purpose. Focusing on the center third of the painting, there’s a mere perfect symmetrical contrast of life and death top to bottom. Most impacting is the symmetrical division of the malnourished and tortured body of Jesus Christ, The left side of his body is in a lively sitting posture on the throne. While his right side is the embodiment of death, his punctured ribs and dangling arm. From the ground up, Carpaccio illustrates the contrast of life and death with minimal details in the painting. The supporting stones of the throne, directly below the arm rests, are divided by breakage, the left stone is cracked and falling apart, while the opposing stone appears to be intact. Vittore Carpaccio managed to capture the cycle of life with many elements one wouldn’t think of comparing life and death with. The top left portion of the throne is a half broken, followed by Jesus’s deadly posture to the falling apart ground stone of the throne, Death is captured in a very recognizable minimalistic form.

Which ties into the principle of composition of the sculpture, Mary’s body is greater than that of Jesus, yet it looks natural. The proportion of the work gives it mass and draws the viewer into every inch of the sculptor. Your eyes follow the face of Mary to her drapery as it cradled Jesus body. Her face looks youthful; stated that her youthfulness attest to her “purity” which the artist portrays in the sculptor. Her face not depicted in a grief stricken state, however; it portrays “resignation” has to say she knew and was acceptable of her son’s death. The way that Mary is holding Jesus’ lifeless body is the way a mother holds her baby for the very first time. The face of Jesus in this sculpture does not show signs of suffering. One could say that it was the Michelangelo’s intention to create an image that showed a face of serene and abandonment in Jesus. The sculpture shows the greatest sacrifice for mankind and the ultimate expression of eternal love. The focal point of the sculptor is Mary’s face; which shows love for her son and blessed by God to have Jesus as her

In mystery plays, the unknown author often dramatizes Biblical material to educate an illiterate medieval audience on Christian history. This is an idea that is reflected in the York play of the Crucifixion. While the unknown author of the play faithfully retains some details of the Crucifixion depicted in all the Gospels, he or she seems to favour particular aspects of one gospel and alter the presentation of the characters to reflect the message in that specific gospel. By analyzing the York play of the Crucifixion and the four gospels, this paper will argue that the unknown author of the York Crucifixion play draws extensively from the Gospel of Luke and alters the presentation of the characters in order to stimulate a sympathetic response from their medieval audience that reflects God’s own sense of forgiveness for humanity.

When I see the painting the shape is symmetric in the sense that there are the same amount of people on both sides of Jesus. The genre of this painting is Christian art.There are also four panels on both sides of the walls. In my opinion, the target audience that this painting was intended for are those who are believers of Christ. I feel this way because I think that this painting portrays the event that is talked about in the bible in the scripture Matthew 26, verse 21 where Jesus says “…"Truly I tell you, one of you will betray me.". He then continues in verse 23 saying, “The one who has dipped his hand into the bowl with me will betray me”. In the painting, you can clearly see the man two seats away from his right reaching for the bowl at the same time as Christ. This event lead to the Holy Eucharist, also known as communion or the Lord’s Supper where Christ takes the bread which was to symbolize his body and wine which was to symbolize his

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

Ivan Kramskoy’ The Temptation of Christ utilizes the viewer's empathy in the contemplative portrait of the iconic religious figure. The painting shows a solitary man, Jesus Christ, sat upon a stone in the desert. Christ is barefoot with his hands clasped tentatively in his lap and his robes are rather plain not bearing any significant clues to his divinity. He is not shown to be an omnipotent Christ like we would see in most Christian art aware and understanding of the sacrifices he must make nor is he outwardly agonizing. Kramskoy’ Christ has his head bowed in anxious reflection, he is sorrowful and unsure the emotion of the piece is largely in the implied internal dialogue of Christ who is in this context moreso a man than a deity. Kramskoy exhibits is this painting his own moral beliefs and attitudes, “He believed that a portrait should characterize a person by demonstrating his or her moral convictions.”(Dartmouth) Reminding the viewer of Christ’

It is a scene which is shown after Jesus was crucified, where his body has been removed from the cross and his friends and family mourn over his body. Many artists have focused this scene by just painting four people: the body of Christ, His mother, Saint Mary Magdalene and Joseph of Arimathea.

Many people believe that there is only one account of the Passion of Jesus Christ or they believe that each story is the same; whereas there are four separate Gospel accounts of the Passion of Our Lord. Each of these Gospel accounts supplements the others, however each gospel account of the crucifixion of Jesus is unique, not only in how the story is told but also in the events and features themselves. Matthew, Mark, Luke and John clearly present different portrayals of the death of Jesus Christ. By examining each account the reader discovers the evangelist's understanding of the death accounts of the crucifixion and death of Jesus. The reader must examine and compare all of the Gospel accounts to have a full and

Leonardo’s scientific studies resulted in the paintings of rocks, plants, light and atmosphere. We can see hills, fields and the sky in the tree windows behind Christ. This is in a classical style, shown by the coffered ceiling which was introduced by ancient Greek and Romans and re-introduced again by Alberti. The orthogonals run from the coffered ceiling, the table and windows and from the disciples and their gestures which all then centres on Christ. The use of foreshortening in this painting is to emphasize the drama of the scene and to keep the figures in harmonious groups. As we can see on the third figure on the right, St Philip tries to deny that he would be the betrayer and to show this, his arm is foreshortened. While St Matthew, the fourth figure on the right, has his arms outflung which was made by foreshortening. This gesture was to help portray his horror, as well as his mouth opened talking to the 3 men to the left of him. There are other gestures that helped depict the idea of betrayal, as we can see on the left side of the painting where St Peter whispers to St. John’s ear while pushing Judas forward. All these gestures lead the viewers’ attention to the centre, where Christ is positioned. Behind Jesus, we can see the window where the natural light comes in which frames Christ’s head, like a halo. Christ’s position in the centre allowed him to be in front of the three windows, which symbolizes the Trinity. As well as that, we can see that he