Lamentation of Christ

Looking at the painting Lamentation of Christ (Duccio) you can notice that the background is a golden tone with a mountain displayed in The Mourning of Christ (Giotto) you can notice the background is a bright blue not a golden tone, you can notice a difference in the sky that makes you wonder whether it was day or night. The most basic difference probably lies in the area ten angels flying around in the sky in the Mourning of Christ (Giotto) painting which the Lamentation of Christ (Duccio) painting fails

Giotto di Bondone’s Lamentation: Subject and Symbolism Giotto Di Bondone’s Lamentation depicts the mourning of the crucifixion of Jesus Christ. The Virgin Mary is pictured holding her son’s body, mourning his death. Saint John the Evangelist is seen with his arms thrown back, dramatizing his grief (Kleiner 409). Mary Magdalene is seen at his feet, in sorrow, looking at the wounds of the crucifixion. Four other disciples are seen with the golden halos above their head, two expressing outward grief

will be compared in this paper are Giotto, Lamentation (c1304-5), and Rogier van der Weyden, Deposition (c. 1435). Although the two artists use different media and style, they share the same topic: the story of the lamentation of Christ from the Holy Bible. The story of lamentation of Christ can be summarized as following: due to the betrayal of the Judas, Christ was arrested and crucified. Both drawings illustrate the scene of the deposition of Christ. These drawings demonstrate the naturalism by

painting is “The Lamentation of Christ” or “Mourning of Christ”. Lamentation is religious painting which is 7’ 7” by 7’ 9” and can be seen at Arena chapel in Padua. The medium used in this painting is fresco, created by Giotto in 1305. 2. This is the very powerful painting where we see Jesus’s dead body surrounded by his families, friends and people who loves him. Jesus body is removed from the cross and is carefully and gently held by his loved ones. There are numerous people around Christ, some are

The Lamentation of Christ was a traditional and preferred topic in Northern Europe at the beginning of the Renaissance. This representation of Lamentation depicted sorrow and suffering through the figures of Mary and Jesus. At the turn of the century, well-known sculptor and artist Michelangelo Buonarroti (1475-1564) changed the interpretation of Mary and Jesus into a popular and beautiful portrayal with the famous sculpture known as Pieta. Widely referred to as the greatest artist of the Italian

Luca Signorelli was an artist who painted many altarpieces for churches in Cortona, his hometown. One of which was the Lamentation over the Dead Christ, which he painted in 1502. He used a “left-to-right” narrative style for this painting to show different scenes representing Christ’s life, while also bringing new innovative aspects into the paintings of Signorelli’s time period such as the ringed halos of light rather than the traditional plate-like halos. Also, this religious painting is also advanced

the Renaissance strove to return to classical traditions set forth in ancient Rome and Greece. The Dead Christ with the Virgin, Saints John and Mary Magdalene and The Lamentation accomplish this goal through the representation of an ancient Christian subject. It also marks a time when artists would sign their names in their paintings like Opus Caroli Crivelli did in the parapet of the Dead Christ with the Virgin, Saints John and Mary Magdalene. While these two pieces share numerous similarities, they

and their works spun out -- Petrus Christus with The Lamentation and Raphael with The Agony in the Garden. The Lamentation was painted in 1450 and its one of Christus’ most beautiful works. It displays the strength of his work along with the simplicity of

contexts in details. One is the Lamentation over the dead Christ of Byzantine Art painted in 1164 by an unknown artist temporarily called Master of Nerezi, and the other is the Lamentation that Giotto di Bondone did in 1305 during the Late Gothic. The purpose is to show the genius of Giotto, who is a key figure in Western art, because he paved the way for the birth of Renaissance. Simply put, the Lamentation of Giotto is a much-improved version of the Byzantine Lamentation. There are a few obvious similarities

The lamentation by Giotto depicts the death of christ and the subsequent morning of his followers including Marry, after he removed from the cross. The scene itself is nothing new, it has been depicted countless of times before. It is Giotto’s revolutionary style, or rather his regressive style, that brought European art back to a more realistic depiction of figures in religious art. In The Lamentation the viewer can sense a three dimensional space in which the subjects inhabit. In addition to