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The role of art in christianity
How religion is expressed in art
The role of art in christianity
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The above picture of Madonna of the Harpies is a 1517 painting by Andrea del Sarto which is also representative of Renaissance themes. The painting shows the Madonna holding a baby on an altar. She is flanked by two saints, Saint Francis and Saint John the Evangelist. In Renaissance times religious themes were common in art. However, the base of the altar is engraved with images of harpies, a reference to classical mythology which is also a feature of Renaissance art. It also explains the name of the painting. In classical mythology the harpies were monsters with women's heads and birds’ bodies. These figures are a marked contrast to the saintliness of the main figures. The composition of the art piece uses a common technique known as “pyramidal
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
In Davita’s Harp, by Chaim Potok, Ilana chooses to go to Yeshiva. Throughout Davita’s Harp, Ilana makes great strides both towards and away from religion. She goes towards religion after her father dies and she starts to say kaddish. Then moves away from yeshiva and religion when she isn’t given the Akiva award because of her gender. Even though she deserves to get it, she has to now settle for less which she is not willing to do.
This is displayed in Parmigianino’s painting, Madonna of the Long Neck. During this time the Catholic Church was in a transition period, moving from their recent reputation and becoming a well-respected organization. During this reform, an autobiography written by Layola about Saint Teresa of Avila set a new tone for Catholics to follow. This influenced people to have a more spiritual outlook on life.
The painting shows Mary, Mary Magdalen and John embracing Jesus’s dead body while they are crying, and focuses on their emotional distress of losing someone dear. Mary is caught middle of letting out a great cry while embracing Jesus from the left. John is shown with curly brown hair while also letting out a cry, but he is behind Jesus and only his face is visible. Mary Magdalen is to the right holding onto one of Jesus arm that reaches over the edge that almost seems like it is coming out of the painting. The whole scene in the painting is very grim as Jesus, the central figure, is lying dead with scars of his mistreatment clear for everybody to see. His body is white and thin with veins of arms and body showing through the skin, and his face seems so tired and worn out. On his head, there is a crown of thorns, but without any blood or scars. The emotional distress in the faces of those around Jesus are stylized, but any viewer would recognize their
...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).
The Madonna’s of Leningrad is a very well written piece of literature by Debra Deen. The author’s use of flashbacks, point of view, and vivid imagery takes you on a trip with the main character Marina as her Alzheimer’s claims her memory and she drifts between present day and The Siege of Leningrad. Deen shows a picture of what living with Alzheimer’s would be like and while Marina’s short term memory is failing she can still vividly remember details from her past. Formalist criticism can be applied to The Madonna’s of Leningrad the authors style of writing leaves some details to the readers mind while using literary elements to paint a story of a woman reliving her past slipping into Alzheimer’s.
“The Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold (Tomkins 2). Madonna and Child painting dated 1300 and was painted by Duccio di Buoninsegna a Sienese painter, who is considered the founder of modern Italian painting. I chose to research this painting because the subject matter of religious imagery and symbols interests me. Also because when I looked at the painting the emotion on the Madonna’s face almost jumped out at me. It is as if, she is looking at her newborn child with this deep sadness, which almost makes you think that the painting is foreshadowing the death of Jesus Christ. In addition, the burns of the side of the frame peaked my interest, as to why they were there. Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today.
The Renaissance created an opportunity for master artists to publish their works and establish their reputation while elite patrons utilized an agent's creation as a means to express wealth, status, or embellishment a historical event. Aristocratic patrons utilized the artist's creation to elevate social status among the social elite. Often times, art was funded for the purpose of creating shifts in a social structure. Before a project was developed, an artist often negotiated with a patron(s) so to be diligent in their efforts since the sum of expenses and risk an artist accepted was rewarded by how well a creation was acknowledged by viewers. Ultimately, private and corporate patrons during the Renaissance employed master artists to propagate an idea of prestige, social status, or embellish a historical event through a perspective not equally unified with the majority of viewers.
I stand for freedom of expression, doing what ever you believe in, and going after your dreams. -Madonna
The piece of poetry I am analysing is an Italian Sonnet called Madonna Mia, by Oscar Wilde. This poem does not deviate from the Italian Sonnet formula; a formula consisting of a stichic syllabic structure, and stressing according to a pentameter - that is, each verse line is 10 syllables, five of which are stressed. Furthermore, this poem, being an Italian Sonnet, is divided into two sections: "an eight-line `octave' of two quatrains, rhymed [abbaacca], followed by a six-line `sestet' usually rhymed [cdeced]" (Baldick, p239).
Take just a second to read the first eight lines very carefully. Picture yourself as a small child being with your mother or father sitting on their lap as they hold you. It is a good feeling that brings warmth and security to any child or any adult needing to recapture the essence of their childhood. In the first four lines we are to understand that the boy's mother is trying to rub his skin to make him warm. That is what "chafe" means, to warm by rubbing. But how many times have you found yourself not quite sleepy enough to go to sleep and you ask your mother or father to read you a bedtime story?
The Madonna and Child, created by Cenni di Francesco di Ser Cenni between 1410 and 1415, is an iconographic painting of the Virgin Mary (left) and a chubby baby Jesus (right). The panel is painted with tempera and the halos around Mary’s and Jesus’s heads are made from goldleaf. La Toilette, painted by Richard Miller in 1910, is an Impressionist painting of a woman putting on her make up. He uses this subject to compare putting on makeup to applying oil paint on a canvas. In order to create the desired impact on the viewer of their paintings, Cenni and Miller use similar stylistic techniques to portray their female subjects.
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.
Madonna is a controversial legend whose attitudes and opinions on sexuality have forced the public to take notice and change the image of females in society. Madonna believed women’s sexuality was a natural aspect of life; therefore, she dared to challenge the rules and definitions of femininity and sought to expand the meaning of it. In a male dominated world, she wanted to focus on the importance of women and let them have a voice of their own. Madonna shattered all the myths on traditional beauty standards and made her statement on sexuality and feminism, which changed how society viewed the standards of beauty. She impacted female power by encouraging sex- positivity into her music and her style. It is mainly because of Madonna that ordinary women, and women in modern entertainment have more choices and freedom which continues to influence further generations.