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Analysis of “Massacre of the Innocents” Created in 1612 by Peter Paul Rubens, his painting, “Massacre of the Innocents,” illustrates the biblical Massacre of the Innocents of Bethlehem, as written about in the Gospel of Matthew. In historical context, the massacre in Bethlehem was ordered by King Herod, who ordered the killing of all young male children in Bethlehem. Rubens recreated the scene of the massacre outside Herod’s palace. It’s understood that in ancient times, as well as the present, commemorative art serves many purposes, such as to closely tie religion to ritual burials, or to promote political and social intentions. In the painting, “Massacre of the Innocents,” Ruben tugs at viewer’s heart both emotionally and visually, by create …show more content…
The woman in the center is seen wearing a long, heavy-looking dress, while raising a blood-stained, white cloth above her head. She gazes up at the cloth, while her face shows that she is in a state of despair. The group to the left of this woman shows two soldiers with spears, murdering a young boy, that almost looks to be the size of a toddler. Beside them are a few women and a handful of young toddlers lying on the ground. The women that are surrounding the soldiers appear to be attempting to protect their young sons, but are failing. One of these women is on the ground, weeping and mourning, to the death of her young boy. The other two women are trying to save one of their sons from being stabbed in the heart by one of the soldiers, while the other soldier holds the boy out of reach from the women. The group of people to the right of the woman in the center, are acting very similar to the left group. In the right group, there are several more people featured, including six or seven soldiers, women, and young boys. In the top, left corner of the painting, there is a group of soldiers who appear to be looking for more toddlers to murder, while the women in this group try to stop them to protect the young
When the world was created there was chaos, that chaos has since persisted throughout the course of human history. In Giuseppe Piamontini’s twin pieces, The Fall of Giants and The Massacre of Innocents, he shows two pivotal moments in human history that have forever shaped society through a single action: the creation of the religious world. The use of cold dark bronze in these works helps display the gloom and terror of the scenes. While the intense detailed expressions on the characters faces conveys their horror, grief, or insatiable lust for violence. Piamontini does a fantastic job showing these violent beginnings will have violent ends, there is no escaping it as the cycle will always repeat.
Deposition, by the artist Rogier van der Weyden, attempts to capture the essence of the grief experienced when Jesus’s died on the cross, and to invoke the emotion in the altarpiece’s viewer, thus drawing him/her into the biblical
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
Furthermore, painted are weeping women surrounded by deceased girls holding lifeless infants behind the military figure. A smog or gas seems to engulf them along with dead children. Even more, a third painting shows children from all over the world giving weapons to a German boy who is molding them into an uncertain object, showing there is no longer a need for weapons in a New World. In addition, the military man is dead with 2 doves above him, signifying such peace that has been brought. The final image is of a man in the middle, signifying Jesus.
Oftentimes the lens we use when interpreting any art is based on our interpretation of the truth of the story – if a story is perceived as historically accurate, we look at the story as co...
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.
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.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
Sin and folly are two concepts that play a major role in the artwork of Hieronymus Bosch. Two of his most famous works The Garden of Earthly Delights and The Haywain Triptych both deal with sin and The Last Judgment is no exception. The significance of his use of sin and folly can be fully appreciated by examining and analyzing The Last Judgment. A very common theme in medieval and renaissance religious artwork, The Last Judgment “marks the final act of the long, turbulent history of mankind which began with the Fall of Adam and Eve and their expulsion from Eden.” 1 It is the supposed day when the dead shall rise from their graves and Christ shall come a second time to judge all men, rewarding each according to his merits. 1 As Christ himself foretold in the book of Matthew, “the elect will enjoy the eternal bliss prepared for them from the foundation of the world” , while the damned will be condemned to the “everlasting fire, prepared for the devil and his angels” 2. Bosch depicted this identifiable scene of Christian lore in a triptych using his unique style. In The Last Judgement, Bosch combined one of the most identifiable scenes of Christianity with a painting style that was unique during the Renaissance.
Van Eyck’s work of the Ghent Altarpiece was not simply a representation of symbols that alluded to Christianity. Van Eyck’s vivid sense of the actual world allowed him to be able to reconstruct reality along with its endless limitations. His audience was so extensively involved with his paintings that it may seem almost esoteric. T...
encapsulates the futility and horror of war through the use of vivid war images like
I chose “The Martyrdom of St. Matthew” as the painting that best illustrates the baroque period. The reasons surrounding my decision are clear in Caravaggio’s painting. Here Caravaggio uses the entire canvas to illustrate complexity, flow, and chiaroscuro. The painting depicts the source of lighting to be coming from the left side of the plane. The brightest light focuses directly on Matthew’s executioner who intends to strike Matthew with an old balcanic hand weapon. Caravaggio masterfully illustrates the use of lighting by casting believable shadows. As an example, the shadow of the handle on balcanic hand weapon reflects on the executioner’s left thigh and knee. Another shadow appears on the executioner’s right inner thigh. The lighting source to the left of the executioner, the executioner, St. Matthews, the boy, the 2 observer’s bottom, right, and the fainter lighting upper left of the canvas illustrates the technique of visual movement. The lighting is placed strategically, causing visual movement within the piece. For example, the illumination of the executioner’s forearm directs my attention to the angel who appears to be handing St. Matthew a palm leaf. As a result, my eyes then focuses on the body of St. Matthew, lying on the bottom of the altar, then my eyes shifts up toward the Angle’s arm. The lighting on the angel's arm contrasted with the darkness of the palm leaf forces the viewer to look at the hand to see what St. Matthew is reaching for. The boy fleeing the scene further draws in the viewer. The two adult observers at the bottom right of the painting are illuminated but not as bright as the two main characters. Next, my attention is drawn to the man lying on the bottom steps, left side of the canv...
1. Viladesau, Richard. "Counter-Reformation Theology And Art: The Example Of Rubens's Paintings Of The Passion*." Toronto Journal Of Theology 28.1 (2012): 29-42. Academic Search Complete. Web. 9 Apr. 2014.
she can be seen as a representative of the victims of war, a complex human face on the backdrop
In the Golden Age of seventeenth-century Dutch Art, many painting masters came to light. Paintings of familiar scenes of domestic, everyday life became immensely popular among patrons; genre painting quickly became a branch of art in its own right. Many of these paintings, with or without purpose, contained hidden symbolic messages, some warning of the effects of a sinful life, with others providing a moral code in which one should inherit. Jan Steen’s The Feast of St. Nicholas is no exception. In this domestic scene, we see a Dutch family that has been visited by St. Nicholas and the joys and disappointments he has left for certain members. Steen’s The Feast of St. Nicholas is a strong narrative painting that is skewed with moralizing and symbolic messages throughout the composition.