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Pyramid short essay
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“The Electric La Belle Jardinière compared with the mysterious Charity”
Raphael’s piece titled La Belle Jardinière (122x80cm), created in 1507 depicts Virgin Mary surrounded by two infants Jesus and John the Baptist. The present location of Raphael's painting is on the 1st floor of Musee du Louvre under the Roman section. It employs the classic pyramidal composition that is simple yet balanced and captivating. Art History has proven that the artist worked and mastered the gradated style, using classical imagery in a modern context, giving new meaning to a visual language. His imitation and expanding of Roman moodiness mixed spiritual and vernacular sensibilities to create work acceptable to patrons that also functioned as exercises in the portrayal
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He will then use implicit lines which are the strands of Virgin's hair that direct viewers’ eyes to the middle of the painting right above the rich tone of red in Mary's dress that highlights the natural beauty of the “Lady". Blocks of hair that are horizontal and vertical in certain places of her head echo the shape of her dress. Therefore, both lines and shift in color are used together in some places and separate in other places to create the shapes in the artwork. The light color of the empty space is visually light; therefore, it does not have as much weight as the darker, amber colors of the rest of the Virgin's dress. This visual lightness along with Virgin’s dress is strong enough to balance the multitude of the blue folding draper that fold down by her right solder and most part of the landscape that is on her back. In this piece, the light source is not seen. However, the natural light source coming from left of the artwork (if we face the Virgin) because Raphael uses a light ochre color on top of the brown color that is already present on the left side of Virgin’s face which makes it seem like a glow is cast upon her face. These warm colors make her stand out from the background. Also, the warm colors against a calming blue background give Virgin an ethereal quality. The other two figures in the artwork which happen to be in front of Virgin makes the viewer
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
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...
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.
Both Jan van Eyck and Fra Angelico were revered artists for the advances in art that they created and displayed for the world to see. Their renditions of the Annunciation were both very different, however unique and perfect display of the typical styles used during the Renaissance. Jan van Eyck’s panel painting Annunciation held all the characteristics of the Northern Renaissance with its overwhelming symbolism and detail. Fra Angelico’s fresco Annunciation grasped the key elements used in the Italian Renaissance with usage of perspective as well as displaying the interest and knowledge of the classical arts.
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
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
Raphael’s painting is arranged with the Madonna in the middle and the two infants placed in her arms and at her feet, allowing for them to capture the viewer’s attention as well. There is no one focal character, as each is placed to draw attention to all three of the characters as a whole, something that is not seen in Titian’s Venus of Urbino. In Titian’s, Venus of Urbino, Venus is clearly intended to be the main focal point, whereas the two other characters in the background are meant to support but not overpower Venus herself. The differentiation between these two character placements in each painting is extremely important when it comes to determining the overall meaning and understanding what the artist was trying to portray with their works of
5).17 This fresco was painted between 1509 and 1511 and is located in the Stanza della Segnatura (one of four in Raphael’s Rooms) in Vatican City. Known as one of the most prominent masterpieces that were created during the Renaissance, this painting represents a total of twenty-one diverse figures in deep conversation, work or amusement as they share ideas, talent and philosophies. In his painting, Raphael incorporated his view on education as such an important aspect of human life. Through doing so, he utilised both the subject matter and the style of
“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.
‘Martha and Mary Magdalene’ sometimes known as ‘Martha Reproving Mary’ or ‘The Conversion of the Magdalene’ was painted by Caravaggio in 1595 and completed in 1596. The piece was done in oil and tempera on canvas, measuring at 39 and three eights by 53 inches. Art historians believed it to be a copy until the 1970’s. It wasn’t until after, that the DIA purchased this painting in 1974, where it has resided since. This composition is said to be where the artist has fully devel...
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
Raphael. Madonna del Granduca. 1505. Oil on wood. 33 in. x 22 in. Palazzo Pitti, Florence.
Located in a hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, vying for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Virgin Mary with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative