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Art criticism theory baroque art
Art criticism theory baroque art
Baroque and High Renaissance art
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Although I had to go out of my way, my trip to the Metropolitan Museum was certainly a pleasant and lively experience. As soon as I got there, I saw hundreds of people which included a vast amount of tourists. Many people were taking pictures with their cameras of all the different pieces of art work. There was art work from many different time periods there. This includes Egyptian art, Greek art, and many more. The painting that I decided to analyze was The Battle between Christians and Moors at El Sotillo by Francisco de Zurbarán (1648). The writing next to the painting said that in Spanish forces in the year 1370 were saved from a sneak attack by the opposition when a heavenly light revealed the hidden rebel soldiers. There is also a biblical reference in the painting as the soldiers looked up during the battle and saw the Virgin Mary looking down at them. According to the Bible, the Virgin Mary gave birth to Jesus, “the Son of God” despite being a virgin. This is viewed as a miracle in Christianity. The painting has a heavenly scene above and an earthly scene below. The figure on the left is depicted as leading an army that army has God on its side as shown by the Virgin Mary and baby Jesus Christ looking down upon the scene. The eye of the viewer is drawn up towards the Virgin Mary and the Christ child because it is the only light part in a dark painting. This technique is the use of the element of contrast between light and dark tones to achieve a dramatic effect. The design is asymmetrical and the painting was done in the Baroque period. The format of the painting is an arched painting that was part of a large altar piece which when together was a polytych. It was on the bottom and was flanked on both sides by two square ...
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... perspective with the soldiers and the building. The soldiers in the foreground are much larger compared to the building and soldiers in the background. Perspective is achieved by the size differences between close up objects and far away ones like the horses. The foreshortening is used by the artist in the soldier's arm pointing the viewer into the painting. All eyes above are directed down to the battle field. Lastly, I was drawn to the painting The Battle between Christians and Moors at El Sotillo by Francisco de Zurbarán (1648) due to a lot of emotion and drama unfolding before my eyes. I could see a story with a compelling narrative as I looked at the painting. Indeed, I probably spent most of my time at the museum on this piece of art. The painting had an interesting back story and a lot of action which made for a satisfying viewing and analytical experience.
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
For example, the soldier and horse at the far right are about the same height as one another. While Rivera could have made the soldiers a lot taller than the horses to signify their importance, he opts to make scale them realistically. Furthermore, Rivera also proportions the soldiers’ bodies realistically, adding to the visual appeal. For instance, the soldiers’ heads are not significantly larger than their bodies from what we would expect, or vice versa. Overall, Rivera uses a variety of elements to bring attention to the focal point of his painting while maintain visual
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
Ralph Nader, Mark Green and Joel Seligman, in an excerpt from Taming the Giant Corporation (1976, found in Honest Work by Ciulla, Martin and Solomon), take the current role of the company board of directors and suggest changes that should be made to make the board to be efficient. They claim the current makeup of the board does not necessarily do justice to the company because “in nearly every large American business…there exists a management autocracy” (Nader, Green and Seligman, 1976, p.570). The main resolution they present is to make the board more democratic with the betterment of the company as its first priority. Currently the board no longer oversees operations, or elects top company executives and they are no longer involved in the business operations to the extent they should be. Nadar, Green and Seligman argue that that all of these things need to be changed. For a corporation so large to be successful there must be separation of powers just as there is in any current government system ( p.571). They claim this is the only and best way to success (Nader, Green and Seligman, 1976, p.570-571).
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 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
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
The Raising of the Cross is an amazing piece of art and the depth of meaning contained in it is, likely, beyond my grasp. There appear to be many symbolisms in this painting and I have surely overlooked some. The style of this painting is clearly inspired by the Baroque masters of Rubens day and Ruben took the style to a new level that the world had not seen at that time. The other pieces in the series of Ruben’s paintings based around the crucifixion of Christ help to give this painting clarity and to give hints to the figures in the paintings.
“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.
drawings, and photography. I found the painting’s depiction successfully showcased the sobering penalties of the cost in battle between French troops and Spanish civilians. Exploring the detail in the picture you can see that Goya’s utilized his technique to created a contrast of shades between light and dark that truly encapsulate the strong emotional intensity of the horrifying scenes, demonstating powerful elements with imagery . In the picture you are able to there are many aspects beginning
At first glance of the painting, there are many things that grab my attention. The first thing being the odd figure of what looks like a woman; her body is composed of different shapes and lines. It almost looks like half of her face is joined with the face of a different woman. I see the woman holding a large mirror
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
I like this painting because it’s very interesting looking. When you first take a glance at it; you think they staring at you, the viewer. As you keep observing the painting you realize they are look at the queen and king. Which, at first I thought it made me feel like I was the queen who everyone was staring at. In the fact there is a mirror in the back of Velazquez right side of the painting that is the reflection of the king and queen. In
Art is important to religion in many different ways. Perhaps none has analyzed how art and religion have influenced and affected each other through the ages. Pictures painted of past events that help to bring back the feeling and importance of the past have been forgotten by some. To the one’s that haven’t forgotten are able to see the event’s as the bible says they happened. Not only can you see the events, but it also allows the younger students of the church to understand the events. The use of images of God became widespread after the second century. This religious art has defiantly been around for centuries and plays an important role to the history of religion as well as the future.
...s of the people that cared about Jesus and also to see the anger that God had for what the people had done to his son by showing the stormy clouds and gloomy surroundings. But he also wanted us to see that even among the gloom that good can come because Jesus has died on the cross for our sins so that we may join him in Heave with our father. I believe he shows this by the light surrounding Jesus. I think this is a great master piece. Tintoretto has so much going on throughout the painting that you can go back and look again and find something going on in the picture that you missed before.