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Life has a funny way of changing at the most unexpected times in the most unexpected ways whether it is changes in a job, or in ones’ education, or even one’s core beliefs. One way someone’s life can change is when they decide to follow Christ. In Caravaggio’s early 17th century work, The Call of St. Matthew, Caravaggio allows the viewer to witness the story of Christ calling St. Matthew to quit his job as tax collector and follow him as one of his twelve apostles. Through the use of symbolism, positioning of characters, and chiaroscuro Caravaggio captures the birth of a vocation and an encounter between God and man. This is a climactic moment in which Matthew’s life wavers between two possibilities. St. Matthew must decide to either continue
The life of Jesus is one that is often discussed and debated among scholars and authors since the time Jesus walked this earth. Gerd Theissen’ s work, Shadow of the Galilean, takes the unique perspective of a grain merchant who has been enlisted by Pilate to find out information on various religious sects and report back to him. After Andreas, the grain merchant’s, first report he is given the task of finding out more about this Jesus who is gaining quite a following. Pilate and the Romans want to know if he is a threat to them. This book follows Andreas as he goes on a journey to find out more about Jesus from various sources for his report to the Romans.
...brese’s St John was executed half a century after The Entombment, it is evident that Caravaggio heavily influenced its creation.
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.
Barna di Siena’s Mystic Marriage of Saint Catherine exhibits a highly dramatic style that was not seen in his mentor nor in his fellow student Lippo Memmi’s work. The symmetric composition consists of two main figures, Saint Catherine and the adult Jesus. In the painting, Jesus is seen placing a ring on Saint Catherine’s finger and taking her as his spiritual bride. Both figures appear to be very light and frail and the draperies they wear do not show the human f...
Her choices of metaphors are simplistic explanations providing the backdrop for the emotional and spiritual connection we seek in following Christ. The symbolic comparisons of Mary Magdalene, her relationship to Jesus, mirrors some of Julian of Norwich’s personal spiritual journey of prayerful contemplation while seeking intimacy in her relationship to God.
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
This essay will closely study and describe Rosso Fiorentino’s The Descent from the Cross. The painting depicts the process of Jesus Christ being taken off of the cross.
One can also say that the story shows the kingship of Christ. The theme of Matthew is the kingship of Christ. It would make total sense f...
The book consists of three parts. The first part has five chapters of which focuses on explaining what the key questions are and why we find them difficult to answer. The second part has nine chapters explaining in detail what N.T. Wright considers Jesus’ public career and the approach he had in first century Palestine. The third part of the book, the last chapter, challenges readers to wrestle with the questions of Jesus’ life and ministry.
Senior, Donald. 1998. "The Gospel of Matthew and the Passion of Jesus : Theological and Pastoral Perspectives." Word & World 18, no. 4: 372-379. ATLA Religion Database with ATLASerials, EBSCOhost (accessed March 13, 2014).
In this paper, I argue that the Lord’s Prayer in Matthew is intentionally an redacted text to encourages Christians to expect the Kingdom of God with eschatological hope as well as to bring forth the Kingdom of God in their here and now daily lives through the practice of Jesus’ radical forgiveness as the liturgical prayer of baptism in the ancient Christian church.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
The presentation of Jesus Christ in Mel Gibson’ The Passion of the Christ, while certainly dramatized, largely stays faithful to the presentation of Jesus in the canonical Gospels. The majority of the differences between this film and the Gospels can be considered creative choices that do not substantially change the narrative, making this film by and large an accurate representation of the scenes in the Bible. However, its near-exclusive focus on Jesus’ trial and death omits much of the context and significance of this event in the life and teachings of Jesus and his greater mission of the salvation of humanity.
Michelangelo and Caravaggio at some point in history were the most famous artists in Rome, Italy. Michelangelo a prominent architect, poet, sculptor, and painter found his success in Italy during the High Renaissance period (1490-1527). While Caravaggio was the most popular painter in Rome and spearheaded the Baroque period (1650-1750). Artists like Caravaggio in the Baroque period turned to a powerful and dramatic realism, intensified by bold contrasts of light and dark. Michelangelo’s reputation as a painter fluctuated during the High Renaissance, but his devotion to his art and his genius undoubtedly influenced artists such as Caravaggio during the Baroque Period. However, each artist had incredibly different styles, and utilized different mediums in their most popular works of art. Despite that there are also many similarities which indicate Michaelangelo’s heavy influences on Caravaggio and Baroque Period art. The comparison will be between Michelangelo, Ceiling of the Sistine Chapel, Vatican City, Rome, Fresco. c. 1508-1512 and Caravaggio, Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Oil