Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Medieval painting
Renaissance and medieval painting
Medieval painting
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Medieval painting
The primary difference between these two examples of art is the way that Jesus is portrayed on the cross. In the Lindau Gospels, Jesus himself does not show any types of suffering, but rather “with outstretched arms, as if to prefigure his ultimate triumph over death” (Cothren & Stokstad, 2014, p. 452). Yet, in the Gero Crucifix, Jesus is represented suffering after being tortured. You can also notice in the Lindau Gospels that Jesus is surrounded by Angels, earthly figures, and even representational images of the sun and the moon. However, in the Hero Crucifix, Jesus is alone. The styles are extremely different in these two artifacts as well. In addition to the Gero Crucifix being made out of wood, and the Lindau Gospels being made with
Comparing El Grecos St Francis Venerating the Crucifix to El Grecos St John the Baptist
The Statue of a kouros and the Portrait statue of a boy both depict similar subjects, however are greatly different in how they accomplish this task. Through detail, or lack there of, the Greeks and Romans are able to display a certain value they have in its members. These two statues were made about 500 years apart and approach the sculpting process quit differently. The Greek statue seems to use geometric exaggerated lines to form the body while the Romans use a more realistic approach and sculpt the body with a more rounded finish. Statue of a kouros, from about 590 B.C and Portrait of a boy, from about the first century, do not share any great technical aspects and are basically nothing alike.
Leonardo Da Vinci would often paint religious painting, later become quite well known for them. He made no exception when he painted the Virgin of the Rocks also known as the Madonna of the Rocks. This painting features Mary, the mother of Jesus, baby Jesus, baby John the Baptist, and an angel. They all sit together on a rocking background pointing to Jesus as he prays. This painting is actually a set of two paintings that depict the same image for the purpose of this painting the focus will be on the Louvre version, or the first version of the painting. (Vinci, 1452) Painted for the chapel for a church in Milan, it was said to not have fit the picture that da Vinci’s client had in mind, which led to the creation of the second version of the painting.
Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
The Book Cover for the Lindau Gospels is rectangular in shape, it features a cross in the center with a depiction of Christ being crucified on it. This is the area of the work that your eyes are immediately drawn to. This work uses hierarchy of scale, the act of making important figures much larger than other figures, when depicting Christ to show that he is important. Implementing this technique also draws all of your attention to the largest figure, Christ. The body of Christ is depicted realistically and youthfully. His body fills the majority of empty space in the lower part of the cross but, the cross is slightly bigger than Christ. However, Christ’s face lacks a great amount of detail and he is shown with a solemn facial expression with his eyes shut. Around his head is a halo made of metalwork and jewels. In the upper part of the cross, the portion that the body of Christ does not fill, there is a short inscription and two small figures that are conformed into a circular shape. The small figures are depictions of the sun and the moon.
In his Crucifixion, with the Virgin and Saint John the Evangelist Mourning (c.1460), a piece within the Northern Renaissance collection of the Philadelphia Museum of Art, Rogier van der Weyden portrays a stark image of the crucifixion of Jesus Christ. The right panel of the diptych depicts the gruesome image of a crucified Christ. Weight pulls the emaciated body down into a Y-shape, contrasting the T-shape of the cross it is mounted on. The only movement comes from the loincloth wrapped around Christ’s waist that dances in the wind. Blood visibly trickles from the corpse’s wounds. Behind the body, a red cloth is draped down the grey wall. At the base of the cross sits a skull and bone. The left panel portrays the Virgin Mary swooning in despair as Saint John attempts to support her weight. Her hands are clasped in prayer as she gazes up at her lifeless son. Both figures are clothed in pale draping robes. The vibrant red of the cloth that hangs from the grey wall in the background contrasts the subdued colors of the
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
The piece Madonna with Saints and scenes of the life of christ ,a portable altarpiece and tryptic painting series by artist Maso Di Banco one of the most gifted pupil and associate of Giotto(The Brooklyn Museum,European art).Illustrates the life of christ from the birth of christ from right the birth of christ,center the annunciation of christ,left the crucifixion and top center the resurrection of christ.This piece shows just how much christianity was valued.This art form was so significant to this period they pass the practice down.Through books like ll Libro dell'Arte c.1370-1440 with step by step instructions on this technique cennino cennini on panel painting(cothren And stokstad 544).These artist created shrines to christ as seen in the piece by Maso Di Banco.The three dimensional portable gold altarpiece with decorative relief...
However, Sano di Pietro art work brings more attention because the Virgin and child was drawn bigger than in The Virgin and Child Enthroned painting. The biggest differences between both paintings are not just the bright colors, but the way Sano di Pietro painted the Virgin. He draws the Virgin standing up straight, we can’t see that she is straight, but by just looking into her left side, we can tell she is in a straight position different than The Virgin and Child Enthroned. Sano di Pietro frame is more interesting because not every artist uses frames like art painting.
The crucifixion periscope is one of the most read and studied stories of the gospels, second only to the story of the resurrection. Luke’s presentation of the darkest day in Christianity is appropriately not as poetic and literary elegant as some of his other writings, yet dramatic. He stresses some common Lukan themes of forgiveness, prayer and universalism.
In J.K Rowling’s famous series, Harry Potter, there are many noticeable parallels between the story of Jesus Christ, Savior of the world, and Harry Potter, savior of Hogwarts. J.K. Rowling herself stated, “To me [the religious parallels have] always been obvious.” Harry Potter, although he is clearly not the Son of God, is very much a messianic figure in the series. His birth, life, death, and resurrection are similar to those of Jesus. Harry Potter ultimately sacrifices himself for others much like Jesus did, and is then resurrected due to the power of the Deathly Hallows, or in Jesus’s case, the Holy Trinity. Since Harry is not the Son of God, there are still differences between him and the actual Son of God; however, there are still many similarities. Jesus and Harry had similar births, lives, abilities, enemies, and deaths/resurrections.
The differences that are found between these four pieces of art can be traced back to the differences that existed between the two cultures. Even though there are similarities, the differences outweigh them by far. The purpose of the Roman Mummy Portrait of a Man and the Mummy Portrait of a Young Woman differ completely from that of the Greek Black-Figured Psykter and the Red-Figured Kylix Depicting a Young Athelete. The styles of the paintings are also very different as well. The amazing thing that is to noticed is that regardless of the differences that exist, both the Greek and the Roman pieces are considered to be masterpieces of art. The differences that are found add to the uniqueness that each one entails.
The representation of divinity was clearly defined in Christ in Majesty with Symbols of the Four Evangelists through its subject matter, technique, and style. Christ acts as the focal point, but the artist also used different subjects from the Old and New Testament to decorate the apse. Unlike the mosaics in the apse of Byzantine churches, the artist employed the technique of classical fresco painting. The artist also applied decoration to the figures with the hierarchy of scale, and through the geometric style in the drapery instead of maintaining a sense of realism.
...ll as the Early Christians had many things in common but for sure we know the impressions of classical Roman features in early Christian art. Indeed, one can see how Roman Art and Greek Art have influenced naturalism on sculptures from Early Christian Art. We also see similar compositions and influences on the tombs and churches, the ideal design and styles were directly adopted from the Roman Art style.
This can be seen in his previously mentioned works as the triangular or pyramidal shape in Christ’s pose in The Last Supper, or the pose of the woman in Mona Lisa, giving the composition a sense of stability through his use of such a stable structure; however, he also used geometric forms for other, subtler, purposes as well. In one of his earlier works, Annunciation (Fig. 5), he uses rectangular forms to portray two different realms of nature (seen in Fig. 6). The natural realm is seen in the background, where he demonstrates atmospheric perspective of the spring trees, and the distant mountain ranges. The divine realm is displayed in the foreground with the Angel kneeling in the flower garden. He unites the divine realm with the Virgin Mary using a square shape that overlaps with the rectangular form of the divine realm. The flowers within the garden also relate to the Virgin Mary’s innocence as well as her love and mourning, further uniting the two realms. The union of the square shape containing the Virgin Mary and the rectangular shape of the divine realm forms a Tao Cross, the religious Christian symbol referring to Christ’s crucifixion, at the lectern, which symbolizes the birth and death of Christ (De Girolami Cheney). This subtle use of geometric composition allows for the viewer to get a more complete idea of the biblical story in a single