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The importance of religious art
Iportance of art in religion
Essay on a religious painting
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At first glance, both Cimabue’s Enthroned Madonna and Child and Giotto’s Ognissanti Madonna look nearly identical. Both paintings center around Madonna holding Christ as she sits on an elaborate throne. In both paintings, baby Christ is seated in the same position on her left knee blessing with his right hand while holding a scroll in his left hand (Adams). Both Cimabue and Giotto’s paintings have angels symmetrically arranged on both sides of Madonna and Christ. All of the individuals within both paintings are wearing halos. When I studied these two paintings in more depth, I noticed that the paintings differed in several small ways. First of all, besides all the gold in both paintings, the main colors in the Cimabue painting are red, purple, …show more content…
They noted how Cimabue used only lines to convey depth in his painting because the paint he used wasn’t able to blend very well. On the other hand, Giotto used shading to convey depth which ultimately his painting look more realistic to the eye. They also noted that Madonna appeared more flat in Cimabue’s painting being that this was the common style used before the Renaissance. The difference that stood out the most to me was the difference in the perspective of the viewer in the paintings. Cimabue’s painting places the viewer in multiple places throughout the painting (in other words, the viewer sees the painting from several different angles). According to Harris and Zucker, the multiple perspectives were not a result of Cimabue’s lack of ability but rather his intention to have the painting be almost as if the viewer was actually seeing Heaven. Giotto on the other hand places the viewer directly facing Christ but positioned slightly below him. This is in accordance with the beliefs of the time that everyone belongs below Christ. The difference in perspective was especially interesting because of the fact that (according to Harris and Zucker), the perspectives were not different because of the talent of the painter but rather because of the intent of the painter. Harris and Zucker also noted how the paintings major differences were a result of Cimabue’s being more medieval because it was painted at the very beginning of the
If someone who had no prior knowledge about art, or the elements and principles of design, were given five seconds to look at these two paintings, they’d probably say they had almost nothing in common, other than the fact that they both feature mountains, and it’d be true for those people. But, if you are someone that does know a lot of information
Madonna and child is one of the early Christian paintings. It shows “Madonna” as the virgin Marry and the “Child” as baby Jesus. The artist Berlinghiero did this great painting in the Greca period in the twelfth century. This painting was done on wood with two figures in front of a gold background. Madonna is wearing a dark blue cloak with golden decorations that cover most of her body; she is also wearing a reddish dress underneath her cloak that is only visible on her arms. To show here modesty the only thing that can be seen is here arms, neck and face. Her hand has and unrealistic look to them so as if they look long and skinny. According to the museum label “Berlinghiero was always open to Byzantine influence, and this Madonna
Masaccio used a technique called linear perspective. This technique allowed Italian artists to measure space so that all the objects in the painting are in proportion to each other. In this painting, Jesus is put intimately close to the scene by using linear perspective. An illusionistic hole is painted into the painted wall and this makes his portrayal more believable. Masaccio also used the technique of tonal modeling which created believable, almost sculptural figures proportionally related to one another to occupy that space. Both of these techniques helps to create good proportions and make the painting more realistic. Another technique that he uses is stage modeling. This means that the holy trinity is meant to be viewed from below and at a distance, like actors on a stage before an audience. In particular, this approach is based on a more human- centered view, locating a single spectator that is standing at a particular spot. In this painting, Jesus is the focus of the painting. In contrast, the Annunciation panel (from the Merode Triptych), which was painted by Robert Campin uses other techniques that greatly change the way the painting is
Both sculptures represent Mary holding the dead body of Jesus. According to our textbook, “This figure group represented a challenge for sculptors, because the body of the adult Christ had to be positioned across his mother’s lap,” (139). Both of the sculptures were created through carving. This is a “subtractive process in which a block of material is cut away to reveal the desired form,” (Carving).
One similarity between Giotto's and Cimabue's painting are that they show Madonna sitting on a throne with Jesus on her left side. Madonna and Jesus are also in the upper center of the painting surrounded by prophets and angels. The centers of paintings during the time were usually reserved for the Virgin Mary or Christ. (7) In both pieces, the angels and prophets are split equally on both sides of the paintings. Sometimes artists would place the same number of figures on one both sides, so as not to disturb the compositional consistency. This fundamental of symmetry had to be maintained in Byzantine art.
While the Flemish were proficient in oil painting, Italian Renaissance artists continued their predecessor’s use of tempera. Furthermore, the paintings were ultimately created for different purposes and separate viewers. Although both works are centered on the defining moment of the annunciation, The Merode Altarpiece incorporates this scene into a secular setting, therefore differing from Fra Angelico’s The Annunciation which was painted for a monastery. Finally, Flemish and Italian Renaissance paintings differ in levels of realism. Although the Flemish painters were skilled in portraying realism of physical forms, they lacked a full understanding of linear perspective. In contrast, the Italian Renaissance artists were well versed in linear perspective but lacked a complete grasp of the natural
Madonna of the Meadow vs. Venus of Urbino While both the Madonna of the Meadow and Venus of Urbino are spectacular works of art, each differs and is similar in many ways. At first glance, Titian’s Venus of Urbino catches your eye because of the gold tones that Titian incorporated into his painting. Titian’s painting also has a shine to it, that Raphael’s painting does not. Raphael’s painting uses softer hues that play well with his incorporation of infants and the softness and subtle idea of the meadow. Nudity is an aspect that can be noted in both paintings, yet a sense of class is still associated with the painting as well.
.... Eiland. N.p.: Georgia Museum of Art, 2000. Print. This book helped me verify that Madonna and Child was painted by Duccio Di Buoninsegna and not by one of his pupils
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...
Giotto was a Renaissance painter who dabbled in many other artistic venues such as sculpting and architecture. Along with his trademarks Giotto also pursued new forms of art created in the Renaissance like fresco paintings and three dimensional paints on two dimensional canvases. In 1267, Giotto was a born in the village of Vespignano-which is located near Florence, Italy. His full name was Giotto di Bondone and he was born to a family of small land farmers. During his lifetime Giotto produced many influential paintings - mainly frescoes - and was a highly acclaimed painter. He was a white hetrosexual male and of the Roman Catholic Church. There are two stories told of Giotto’s rise to fame. Both stories revolve around a well known Italian painter named Cimabue. One version says Cimabue caught Giotto sketching one of his father’s sheep on a rock when he was twelve, Cimabue loved his work so much he took him on as a pupil. Another version says while apprenticed to a wool merchant Giotto visited Cimabue’s studio so often the artist finally was allowed him to study. Giotto was a happy ...
The Renaissance art that I've included contains a piece by Robert Campin entitled “Annunciation Triptych,” and another work by Fra Filippo Lippi, called “Madonna and Child Enthroned with Two Angels.” In both of these paintings we see some of the typical themes of Renaissance art. For example, Lippi included in his scene a background which wouldn't have necessarily been needed. Really he could have chosen just about anything, like the woods or the sea, that might have been easier to paint. He chose though what appears to be the inside of a building, likely a church. Not only that but he went to great lengths to ensure everything was in perspective, and the lines and angles are straight and sharp. Similarly Campin has also chosen an interior scenes with strong perspective and exacting details. In both of these the artists seem to be capturing an event, much like with a photography in modern times. While both images portray fictional scenes, the artists wanted to capture the moment to tell a precise historical story. They both go to some lengths to include background details which also capture architectural details. To me it seems that they both approached their work meticulously and with reason and mathem...
Thinking about the significant differences found between the Northern Renaissance and the Southern Renaissance helps us understand why there was a difference in the depicted scene. When it comes to Northern Renaissance, it is known that they kept to the Middle Ages art style. As we saw, when it came to Giotto, the fact that he was already venturing off and trying new techniques shows us that Italy was where Early Renaissance took place. That explains why Massys’ version was more old styled compared to Giotto’s. One main point to remember is that the reason why Giotto was able to venture off and try something new was because he was hired to paint a private chapel and only had to please one man. Usually when it came to both North and South
One art piece that I’ve learned about in an Art History class was the “Ognissanti Madonna” by Giotto. I am aware that during the pre-renaissance era the artwork was heavily influenced by religious beliefs. A lot of the art were altar pieces or church paintings commissioned by religious patrons. Fortunately for us the artwork from this era heavily reflects the religious beliefs held by the people at the time. The style of the painting is in the Byzantine Christian style, but it is actually a pre-renaissance painting.
The Lady has a white “V” neck shaped collar while the Mona Lisa has gold trim on her square shaped collar. Mona Lisa’s dress also looks a lot more flowy and lighter while the Lady’s dress seems more layered and thicker probably due to the colder weather in northern Europe. The Lady only has a dark blue canvas for a background while the Mona Lisa has a clearly defined landscape behind her with trees, water and a dirt road. The veil that the Lady wears is made from significantly thicker cloth and wears a dark colored headband. The Mona Lisa’s veil is barely visible. The Lady has a lighter hair color and is tied up in a bun with some kind of net or cap around it with silver pins tucked into it to keep her veil in place, while Mona Lisa has her dark, wavy hair draping down her shoulders in a casual yet elegant manner. We can see the ears on the Lady, but the Mona Lisa has her ears covered by her hair. The eyes of the Lady are bright and hazel colored. Mona Lisa’s eyes are dark and you can barely see her pupils in her irises. Maybe that is how Leonardo got the effect that her eyes seem to be moving. It also appears that she has no eyebrows, or they’re severely
The title of the piece, Madonna of the Clouds, implies setting; however, Mary’s robes blend in with the surrounding cherubs, creating a mass of folds. Donatello shows perspective through subtle changes in the depths of carving – stiacciato relief – a technique that he devised (Britannica). This varying strength of line utilizes shadows to enhance emotion, as seen with the Virgin Mary. The concern that she shows for her son in her arm foreshadows his fateful end. This expression though, is not only demonstrated within the facial features of her profile, but also in the ever-present shadow under her chin, directly above Christ’s head. Stiacciato relief depends on the reflection off of pale materials, like marble, in order to manipulate light to enhance or detract from the forms themselves (Britannica). Donatello controls his medium to work with his audience’s position, casting shadows to be where they are most meaningful. Awareness of his viewers’ angle ceased to allude Donatello as his earlier marble masterpieces, the sculptures at the Or San Michele, employed their alleviated situations to accentuate his subject’s personalities as seen with Saint