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Renaissance art exssay
Renaissance art exssay
Renaissance art exssay
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‘Judith Slaying Holofernes” is an oil on canvas painting painted by an Italian female artist Artemisia Gentileschi completed between 1614-20 in the last Renaissance period. It now lives at Museo Di Capodimonte in Naples, Italy.
Religious Value: This is a dramatic but powerful painting which comes from “Apocryphal book of Judith” in the Old Testament of the Bible. The biblical story inspired many of her paintings.In this painting it shows Judith who is a young widow from the Jewish City of Bethulia and a biblical herione beheading the general of the Assyrian army. The King of Nineveh sent this general, Holofernes to kill his enemies which were the Jewish people. A lot of Jewish people in Bethulia where Judith lived got killed and began losing hope. Judith decided to take things into her own hands and snuck into the camp where they were staying. She seduced Holofernes with her beauty, this causing Holofernes to drink more than he planned and becoming extremely drunk. When he is out of sane Artemisia see’s it as her chance and beheads him with the help of her maid who is the second woman in this painting holding him down. Ever since then Judith has been seen a biblical heroine and looked up at for standing up for her town against the Assyrians. So this is painting has a religious value mostly for Jews as the painting can be seen as there sign of freedom.
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Even though he was imprisoned it still ruined Artemisia reputation. It also angered and haunted her causing her to paint a lot of her feelings in paintings. We see her feelings in this brutal and graphic painting where Judith is killing Holofernes, it is believed she has painted herself as Judith and her mentor as Holofernes making the painting very
Artemisia Gentileschi (1593-1654?) was one of the most important women artists before the modern period and certainly one of the most famous female painters from the seventeenth century. Gentileschi’s paintings regularly featured women as the protagonists acting in a manner equal to men. In fact, forty nine of her paintings fall into this category. She was raped at the age of 18 and the subsequent events lent her a certain amount of notoriety. These factors have led many to interpret her artwork as an expression of her role as a female victim looking for revenge through her art. Instead, a closer examination of Gentileschi’s life and her artwork exposes the artist as an individual with personal strength and incredible talent who painted subjects similar to or the same as those of her male counterparts, instead of staying within the guiding principles of what was acceptable “feminine” art.
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
In addition, scenes from the lives of the Virgin Mary and St. Blaise, a fourth century martyr, are also present. All the characters in the panels more or less have halos and therefore are holy figures. The twelve apostles line the bottom of the panels, perhaps suggesting that they were the foundation of the Catholic religion. Basically, the painting is designed for a church altar, it has religious figures in it, and it is filled with Bibles and images of Christ's crucifixion. All of this relays a strong message to the viewer that this is what is important in life; one should pay close attention to religion and have respect for
CELESTINE BOHLEN, “Elusive Heroine Of the Baroque; Artist Colored by Distortion, Legend and a Notorious Trial”, New York Times, Published February 18, 2002
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
Examining the iconography in this sculpture, there are two details to note. The first is the grapes in the Virgin’s hand. The grapes represent
( footnote book ). This painting had multiple purposes, it was used in religious rituals and commemorated as a funerary moment of Christ. In the painting there are three fictional spaces one which holds the chapel with the trinity, Christ the son on the crucifix, we see the dove, the Holy Spirit, looks like gods collar, and above we see god. He’s demonstrating the sacrifice of his son which redeems human’s sins. A second space where we see young St. John the evangelist and on the other side there is the Virgin Mary presenting the second space. The virgin’s stoic impression; penetrating the audience, saying that it’s a reminder of what Christ was sacrificed for and the constant reminder if redemption. She’s not the fallen virgin, she is very somber and serious. This is why this is considered a devotional piece and also what Alberti would call a ‘historia’. Mary is the one is the historia depicting what is going on, as Alberti states, she is the character that beckons the audience with her hand, holding a ferocious expression and forbidding glance, this is the gesture that invites you to laugh or weep with her.(footnote course) In this instance it is to remember and be thankful to Christ and how his sacrifice redeemed mankind from their sins.
Helen feels apprehensive about leaving Menelaus for Paris, she says “it would be too shameful.” (Iliad, 3.410) and in doing so, she would lose her well maintained reputation in the eyes of all Trojan women. Since Aphrodite is the goddess of love and since Paris fulfills her desire, she must return the favour and unite Helen and Paris. So she further arouses Helen by threatening to“forsake [her] and grow to hate [her] as much as now [she] terribly [loves her]”(Iliad, 3.414-415). This not only frightens Helen, but also instigates her to follow Aphrodite to the bed of Paris and in the process of doing she successfully leaves unseen by the Trojan women. Infuriated that his wife has deserted him for another man, Menelaus and his brother Agamemnon alongside many other greek warriors, decide to take action against all of Troy. The Trojan war between the Greeks and the citizens of Troy escalate quite rapidly, leading to the death of superior figures of Troy and great Greek
Finally, a man’s portrait in the bottom right of the painting. This painting is supposed to represent the biblical story, Noah’s Ark.
One of the very first well-known portrayals of this narrative was by Giotto di Bondone. From around 1304, it is an Early Renaissance painting. Jesus is lying down, cradled by the Virgin Mary, and Mary Magdalene is cares...
... right is the only part of the painting that has gold leaf in it, on her gown, what looks to be a gold collar, and a gold necklace with a pearl. The gold she is garnished in represents royalty and the holy. An interesting illusion is seen the left angel’s hair and how it’s illuminated by the sun creating a halo.
Chapter 6. 1717: in Delfzijl, Aunt Rika, wife of a slave trader, offers the painting as a bribe to her nephew Adriaan to hide the evidence of his bastard child and keep her name respectable.
Perspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the
This oil painting is set in the 1800’s according to the author’s time period that he was alive. The context of the painting has the setting take place on a train with three people in the viewer’s perspective: a seated lady
Rossetti shows us the woman being painted as many different things. Although she is just a painting, the woman symbolizes how the artist views women in real life: as objects. Irony is used when the woman is painted as “a queen”(5). She is put on a pedestal in a position of power, yet she is only described as being “in [an] opal or ruby dress”(5), cementing her role as an ornament. The ruby symbolizes passion and perhaps promiscuity. Opal is a white stone that reflects many colors. White symbolizes purity; while the different colors reflected symbolize how her meaning can change, and how the artist controls her identity and can make her fit any persona he desires. The woman is also depicted as a “nameless girl”(6), indicating her identity is not important to the artist. It also shows that he does not personally know the women he’s painting, but only their looks, affirming that he bases their value off of their appearances. Lastly, the artist portrays a woman as “a saint [and] an angel”(7) and compares her to the “moon”(11), an allusion to Artemis, the goddess of virginity. In this painting, she is established as a pure virgin, which was a requirement of the time period Rossetti lived in. However, because it is one of the fantasies the artist creates, and the poem antagonizes him, this line also expresses the idea that a woman’s purity should not define her. He makes the innocent virgin and the licentious queen the only ways women can be viewed. Yet, they are the same to him. Lacking depth, their physical description is the only thing giving them any meaning. Rossetti describing the portraits conveys the idea that no matter the position in society; or what their actual personalities are like, women are just blank canvases for men to project their fantasies onto. Uninterested in a real person, the artist worships the idea of a