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The baroque era art essay
Renaissance and Baroque art time period
The baroque era art essay
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The Ecstasy of St. Teresa, created by Gian Lorenzo Bernini, was commissioned by Cardinal Federico Cornaro of Venice in 1647. This piece can be seen in the Cornaro Chapel located inside of Santa Maria della Vittoria in Rome, Italy. This piece was created during the Baroque Period. This period began in the early 1600’s and its main goal was to connect the audience with Catholic traditions by depicting scenes that show a personal connection with God and draw people into the artwork, therefore into the church as well since that is where a lot of this artwork could be found. The Ecstasy of St. Teresa is a multimedia piece of art made of sculpture, painting and architecture which depicts a scene of St. Teresa’s life that she described in her autobiography. St. Teresa wrote about many encounters and visions she had with the supernatural (including God and angels). The specific scene that is shown in in this piece is of the time she encountered an angel of the Lord who stabbed her in the heart repeatedly with a burning spear that left her desiring more of God. In her autobiography, she described this experience in a way that sounds as if she is having a sexual experience. This type of personal connection with God was what many Catholics wanted to show to non-Catholics during the time in which this piece was commissioned. This …show more content…
One example of how detail is used in this piece is through the faces of St. Teresa and the angel. The details of these two characters faces are so clear that the audience can identify their emotions. In this sculpture, St. Teresa’s eyes are closed and her mouth is open, indicating a kind of pain, pleasure, or a mixture between the two while the face of the angel is smiling which shows the angels pleasure in this circumstance. By allowing the audience to see these emotions, the audience is able to connect more to the characters in the
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
As this painting was created in the High Renaissance, the composition shows the transition from spiritual to humanist. During this period, artists began to experiment with attempts to pay attention to realism and naturalistic features while still maintaining the appearances of spiritual figures. In the painting, Baptism of Christ, Verrocchio and Leonardo da Vinci worked on two angels seen on the left of the piece. Verrocchio was a renown early Renaissance artist, paying extreme details to humanism to a point where the line between real and spiritual was obsolete. In this painting, it is no different; the angel painted by Verrocchio appears as a small boy with a halo above his head. However, Leonardo’s contribution portrays an angel that is still divine, yet still having elements of realism. This concept of “realistic, yet spiritual” was a main idea that embodies the High Renaissance, and can be seen in Orley’s piece as well. Although there is a lack of attention to proper anatomy, the conception of “realistic, yet spiritual” is shown through the scenery in the background, where the landscape is depicted as a castle on the hilltop looming over a foggy forest. This imagery could be seen in reality, but the hazy feeling gives off a more spiritual world that is unearthly, but still on Earth. Landscaping also became a prominent theme that grew in
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.
This is displayed in Parmigianino’s painting, Madonna of the Long Neck. During this time the Catholic Church was in a transition period, moving from their recent reputation and becoming a well-respected organization. During this reform, an autobiography written by Layola about Saint Teresa of Avila set a new tone for Catholics to follow. This influenced people to have a more spiritual outlook on life.
One of Angelico’s famous paintings is The San Marco altarpiece. This painting shows his strong use of perspective and depth within the space, and also shows that he mastered the use of optical illusion, showing that the crucifix stands separate from the rest of the painting (Finnan). This painting is also unusual in the sense that the setting is not as holy. The angels are shown as people, and the saints seem like they are able to talk about seeing the Virgin in person (Fra.)
In this paper we are going to discuss the life, work and teachings of Saint Teresa of Avila, Doctor of the Catholic Church. St. Teresa was an important figure in the Church for her reforms of the Carmelite Order. Teresa’s reforms caused a fracture of the Order and formed the Order of Discalced Carmelites, which believes in the old ways of the Carmelite Order. St. Teresa is also well known for her three books.
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