The time period of the painting was located in the Renaissance gallery, painted by Guido Reni in 1639/42. The Painting “Salome with the Head of Saint John the Baptist” uses the style of chiaroscuro where as the lighting is falling into the middle of the painting highlighting Salome and the head of John Baptist which focuses on the most important details of the painting. Which makes up the style of Baroque movement. The paintings colors are very neutral, mostly soft colors such as pink, green, white, yellow, a lot of black and a little bit of different darker colors are being used in the background around the edges to highlight the most important parts with lighters colors in the middle. The artist did not need to use a large variety of colors …show more content…
Some areas such as Salome’s red robe and the soft green costume of the page are painted in rapid brushstrokes so that all eyes remain on the exquisite face of Salome.” (Ren, 2017) . The painting ‘Salome with the Head of Saint John the Baptist’ is about the death of Prophet Saint John the Baptist. Salome is the Girl in the yellow pink dress in the middle of the painting she is the daughter of Herodias who married King Herod, whom are not shown in the painting. Salome is holding the head of Saint John, which that night at the dance she has made a huge impression on her stepfather King Herod with her dancing who then wanted to reward her and told her she can have anything she wanted, so she asked for the head of Saint John who was imprisoned for criticizing the Marriage between her mother Herodias and her step father King Herod. The servants than brought out the reward, a platter with Saint Johns head on in. This painting is not very graphic, there is no blood on the platter with Saint Johns head which makes it much more pleasant to look at especially since it is in a museum where kids visit as
	John Paul was born in the small fishing village of Arbigland, Scotland on July 6, 1747. To his parents John Paul and Jean MacDuff he was the fourth child. They had seven children but unfortunately all but two died in infancy. The family was originally from Fife but John Paul's father had taken the family and moved to Arbigland where William Craik, the owner of a large estate their had met him and hired him to be his gardener.
The Baroque era was born out of the Roman Catholic Church’s Counter Reformation, during which the church made considerable efforts to strengthen the relationship between the secular world and the religious order. In an effort to engage the common people and create piety, the Catholic Church wanted art to appeal to human emotions. Gentileschi successfully accomplishes this in her painting, Judith Slaying Holofernes. By infusing the Apocryphal tale of Judith with dramatic techniques such as chiaroscuro and foreshortening, she created a deeply moving and realistic piece of art that engages the viewer physically and emotionally, which is quintessential to the Baroque style.
He was a man whose very words struck fear into the hearts of his listeners. Acknowledged as one of the most powerful religious speakers of the era, he spearheaded the Great Awakening. “This was a time when the intense fervor of the first Puritans had subsided somewhat” (Heyrmen 1) due to a resurgence of religious zeal (Stein 1) in colonists through faith rather than predestination. Jonathan Edwards however sought to arouse the religious intensity of the colonists (Edwards 1) through his preaching. But how and why was Edwards so successful? What influenced him? How did he use diction and symbolism to persuade his listener, and what was the reaction to his teachings? In order to understand these questions one must look at his life and works to understand how he was successful. In his most influential sermon, “Sinners in the Hands of an Angry God”, Jonathan Edwards’ persuasive language awakened the religious fervor that lay dormant in colonial Americans and made him the most famous puritan minister of the Great Awakening in North America.
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
A distinction of colors exists within the painting: there is dreary dark blue background contrasted by the intense shades of red and white worn by the figures. A specific example of this the women flanking the Virgin Mary. The woman to the right of Mary attracts the most light and is the brightest in color. The Virgin Mary herself is dark, dull, and shadowed. The woman behind Mary, similar to the other woman, is wearing red and bright. In reality, the lighting of these figures do not make logical sense. If Rosso’s mission was the depict reality than the women would be shaded evenly from light to dark. Due to the overall lack of a single swath of colors, the eye is forced to look all over the painting rather than focus on one main
The post Republican period of the ancient Roman civilization was the Roman Empire. It was characterized by a large area of territory such as the Mediterranean, Africa, Asia, and Europe. Also, the Roman Empire was known for having an autocratic form of government. There are three important people in the history of the Roman Empire. The three people are Augustus, John the Baptist, and Jesus.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
This painting, measuring about six-by-seven feet, is a massive work that draws viewers directly to it once they enter the room in which its displayed. It is not covered by any glass and is in a very well-lit area, thus it allows viewers to stand as close as possible to see the details of how Peter Paul Rubens handled his medium. Looking at the painting from a photograph is much different than viewing it up close and in person, because when looking at a photograph, one cannot see the texture of the paint that gives the painting its very delicate, unique, and realistic quality. The work appears to be in very good condition because most of the colors are still very rich and vibrant, such as Adonis’ red garment (Rubens). Although one cannot tell when directly viewing the piece, it has been said that previous use of radiographs for further analysis on the painting uncovered that initially, “Rubens gave A...
The tendencies of Baroque translated differently in parts of Europe. In Italy, it reflected the return of intense piety through dense church ornamentations, complex architecture, and dynamic painting. Calabrese’s work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired Caravagesque style that alters how paintings were composed from then on. Executed at the height of Calabrese’s most creative phase, St. John the Baptist Preaching is indicates the monumentality of change in urbanization as well as the return of Catholic permanence in the 1600’s. Aside from the Baroque power of the artwork, Calabrese’s St. John is a piece worth gravitating to and stands as reminder of the grandiose excesses of Baroque art.
This painting is a great example of asymmetrical balance. The angels are placed nearly exactly identical on each side of the throne. The angels themselves are sort of mirroring one another. Besides the navy cloak worn by the woman this painting does a great job at equally distributing the visual weight. The yellow hue is found to be consistent throughout. Giotto did a good job at blending and balancing the colors from yellow all the way to green. There is also a great deal of emphasis found throughout Giotto’s painting. The woman holding her child is definitely the main focal point of the painting because it is found directly in the center on a throne worshiped by angels. There is also a great deal of emphasis found on each character of the painting by the light yellow halo found above their heads. This does a good job at emphasizing everyone’s importance in the
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
Caravaggio’s painting is unique due to its wonderful use of chiaroscuro, which is the contrast between light and dark. For example, the painting “Supper at Emmaus (1602)” illustrates Jesus and his disciples in bright colors and uses a dark tint for the background (Miller, Vandome, & McBrewster, 2010).
As far as I can tell there are only three main colors in this portrait. If not including the different shades I see only red, white, and blue hues. The blue robe of Mary is the color most artists use when making Mary’s attire. The white I see on both Mary and her Child may represent youth since they both look so majestic. Unfortunately I don’t quite understand why the red what put into her work much like the painting’s history online it is a mystery.