art essay

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

The Baroque era spans a period of 150 years. During this time, baroque art had four distinct styles. I plan to focus on the Italian Baroque and the Protestant Baroque styles. While these styles share some similarities, they are also very different. The Italian Baroque style is often ornate and focused on religion with an emphasis on the need for the church’s guidance. The Protestant Baroque style is plain with no obvious religious messages and less need for guidance from the church. Both styles contain many amazing pieces of artwork, but I plan to focus on Bernini’s Baldacchino and Vermeer’s Woman Holding a Balance.

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.

Margaret Olley and Van Gogh are two of the most well-known impressionists of their time. With more than a century between their eras, they both played significant roles in the progressing development of art today. Similarly painting still life’s and portraits, they also used the same media types and painted what they were surrounded by. For example, rooms of the houses they lived in, flowers and places they travelled. This comparative essay will compare and outline these two famous artists and the similarities between two of their most

14. What immediate developments in the seventeenth and early eighteenth centuries might have influenced the cultural patterns depicted in these illustrations? How does the broad context of the Columbian exchange help you understand these painting?

Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.

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.

Diego Velázquez’s oil-on-canvas painting, ‘Christ in the House of Martha and Mary’, can be said to have a very important role within seventeenth century Spanish art, as it is a lasting example of the close relations between society and religious devotion. Velázquez experimented with the bodegones, a stylistic form of genre painting set in every day settings, particularly the domestic as a means to relate scenes from his contemporary Spanish society to extracts of influential Biblical narrative. As such, Velázquez not only emphasises the realties of theoretical and ideological societal issues in Spain through his painting, but also expresses a need for religious devotion that was of paramount importance during the seventeenth century throughout

Beautiful, flowing imagery through art renderings will show Don Isaac Abarbanel and Spain in her ‘golden years’ juxtaposed with stark images of the horrors of 15th century Spain with King Ferdinand and Queen Isabella, Catholic Priest Torquemada in the king’s court with condemned Jews in pointed hats, Jews fleeing

The grouping of these paintings is quite clear from a historical and visual standpoint. The paintings each feature warm colors with a splash of vibrancy, apparent subjects, perhaps due to their monochromatic backgrounds, and also display the same sort of calm and collected subject matter that much of Spanish Baroque art concentrated on. The Wine Flask, whose creator is unknown, fits in with warm color scheme and dates back around the same time as the rest of the exhibition, however it has a known origin of Japan.

This article explores the production of religious images by the Baroque movement as a mass production of icons and superimposing images. Although, this piece of work focuses mainly on this art movement and is effects on Mexican culture, it also describes how the appropriation of certain symbols can influence culture, religion, and politics of other societies.

He is most widely recognized for his contributions to Surrealism. His unique use of line, shapes, and color fulfill the Surrealist idea of creating work that liberates the creative potential of one’s unconscious mind. The forthcoming analysis will examine a painting by Miró completed in 1924 titled Pastorale, now located in the Museo Nacional Centro de Arte Reina Sofía in Madrid, Spain. This paper will provide biographical information on the artist followed by a formal and contextual analysis of the painting Pastorale. This analysis will draw links between Miró’s development as an artist prior to his time in Paris, his transition into the Surrealist movement, and

I wonder what Clyde Butcher would say to me if I were to ask him to explain to me exactly how he feels when he is experiencing the Everglades and taking the amazing photographs of this beautiful place. Would his words come anywhere close to expressing his passion for the Everglades and other natural areas as his photographs do? Would his words be an even better explanation and expression of his feelings towards the Everglades than his photographs? How about Marjory Stoneman Douglas? What if I were to ask her to put her feelings and passion about the Everglades into a painting or into photographs? Would her works of visual art be a better representation of her connection with the Everglades than her literature? I

My favorite piece of art that’s been displayed, or at least talked about so far, this semester has got to be the little berserker chess pieces from the Germanic Tribes lecture. While not necessarily a primary piece of art, the small sculptures represent the tribe of Viking warriors that fought fearlessly. In detail, the depictions of the berserkers show them wielding swords and shields as if they always stood ready to battle. Then to add to the appeal, the berserkers in the chess set are biting on their shields as if they were wild animals. I imagine this group of Vikings looking very intimidating and using the wild and fearless personas to strike fear into their enemies. Another interesting fact worth mentioning is that the term “going berserk” came from the descriptions of this tribe.