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Essays on women of the bible
The influence of renaissance art
Art during the Renaissance
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Lined with examples of professional and thoughtful artistry, I chose this particular piece, “Esther Before Ahasuerus” by Artemisia Gentileschi because of the story it portrays The visuals of the scene suggest a defiant nature surrounding the fainted woman, Esther, and an almost cartoonishly comedic atmosphere surrounding Ahasuerus, who here you can infer to be a figure of power The nature of this piece contrasts many other art pieces that portray men of power to be sophisticated, regal, and almighty, whereas in this piece, Esther is likely to be implied as the individual in control, despite the placement of Ahasuerus on the throne Esther is the focus of the piece, placing her in control of the situation portrayed by the artist Thus,
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Subcultures such as Biblical illustration, historical recreation and symbolic art are encompassed in art history This particular piece is a Biblical illustration of the story of the heroine Esther, who, against the rules of the court, appeared before Ahasuerus to beg for the well being of her people The portrayal of a woman by Artemisia Gentileschi here reflects her perspective against the unjust treatment of women in the 17th century Nevertheless, this piece represents not only a fascinating recreation of the Biblical story, but also the act of social outcry This painting shows the role that art plays in historical and social movements such as women’s treatment in the 17th …show more content…
However, Artemisia Gentileschi was a famous painter from the very beginning, and as such her works have been displayed for decades. Her famous painting would have been a modern marvel in the 17th century, but is now a historical masterpiece. In order to keep this painting looking as pristine as it does today would take a lot of careful handling when it came to transport. When it comes to paintings made in such a different time period to ours, if the painting had been famous at the time, it surely has a reason to be famous
I had never heard of the artist Artemisia Gentileschi before this introductory Art course. Of all the paintings and sculptures found within the book, it was her work that stood out and spoke to me. "Judith and Maidservant with the head of Holofernes" is a particularly rich oil painting by the Italian Gentileschi, painted circa 1625 Europe. Her large canvas measures 72 and 1/2 inches by 55 and 3/4 inches and began as a biblical story telling inspiration come to life within the oil. Located at the Detroit Institute of Arts, the painting was a gift to the institute from Art collector Mr. Leslie H. Green in 1952. Artemisia was the daughter of a painter (and caravaggio influenced) Orazio Gentileschi, she was also the wife of little known artist Pierantonio Stiattesi. Artemisia had four sons and one daughter during her marriage. A student of the Chiaroscuro technique and during a time when women were not believed capable of painting competitively and intelligently as the men of the day. Artemisia proved them wrong with stunning work and artistry over her artistic career.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
Artemisia Gentileschi (1593-1654?) was one of the most important women artists before the modern period and certainly one of the most famous female painters from the seventeenth century. Gentileschi’s paintings regularly featured women as the protagonists acting in a manner equal to men. In fact, forty nine of her paintings fall into this category. She was raped at the age of 18 and the subsequent events lent her a certain amount of notoriety. These factors have led many to interpret her artwork as an expression of her role as a female victim looking for revenge through her art. Instead, a closer examination of Gentileschi’s life and her artwork exposes the artist as an individual with personal strength and incredible talent who painted subjects similar to or the same as those of her male counterparts, instead of staying within the guiding principles of what was acceptable “feminine” art.
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.
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...
RODERICK CONWAY MORRIS, “Artemisia: Her Passion Was Painting Above All Else”, New York Times, Published November 18, 2011
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.
Sofonisba Anguissola was one of the most prominent female painters of the Renaissance. Not only was she one of only four women mentioned by Giorgio Vasari in his famous Lives of the Artists, she also paved the way for later female artists. One may look at Sofonisba’s upbringing and assume that her talents were a result of her wealth and family background. However, if investigated more carefully through both analytical secondary sources and primary sources, it becomes clear that Sofonisba’s painting abilities formed because of her talent, not her wealth. Sofonisba integrated herself into the artistic community and used her second-class status as a female painter to accelerate her career: because she was not able to study as an apprentice in a workshop, her models were usually family members, she pioneered the style of genre painting. Historian Joan Kelly argues in her essay, “Did Women Have a Renaissance?” that women did not experience a Renaissance during the actual Renaissance. Sofonisba’s training and connections were extremely helpful to launch her career, refuting Kelly’s argument that women only were taught “charm” during the Renaissance. In addition, Sofonisba married her second husband for love, not for money, debunking Kelly’s argument that marriages during the Renaissance were not based on love. Though Sofonisba’s life as a woman is a unique case in terms of wealth and profession, her success and fame, talent, and marriage (van dyck?) disprove Kelly’s argument that women did not have a Renaissance during the Renaissance.
Artemisia Gentileschi (1593 – 1652), daughter of a well-known Roman artist, was one of the first women to become recognized in her time for her work.. She was noted for being a genius in the world of art. But because she was displaying a talent thought to be exclusively for men, she was frowned upon. However by the time she turned seventeen she had created one of her best works. One of her more famous paintings was her stunning interpretation of Susanna and the Elders. This was all because of her father. He was an artist himself and he had trained her and introduced her to working artists of Rome, including Michelangelo Merisi da Caravaggio. 1. In an era when women artists were limited to painting portraits, she was the first to paint major historical and religious scenes. After her death, people seemed to forget about her. Her works of art were often mistaken for those of her fathers. An art historian on Artemisia, Mary D. Garrard notes that Artemisia “has suffered a scholarly neglect that is unthinkable for an artist of her caliber.” Renewed and long overdue interest in Artemisia recently has helped to recognize her as a talented renaissance painter and one of the world’s greatest female artists. She played a very important role in the renaissance.
Esther before Ahasuerus,1628-1630 is a painting by Artemisia Gentileschi, belonging to the period of the Italian Baroque. It is a large, two dimensional oil painting that displays a story of four figures. In a court, there is a man assumed to be Ahasuerus is rising out of his chair and appears to be stepping forward towards this woman, Esther, who appears to be fainting, and there are two women beside her who are holding her, preventing her from falling. Gentileschi uses a diagonal composition, space, light, texture, and color to depict a story of a man that is a part of a higher hierarchy who is confronting a woman that is in distress and creates a subject of agony.
meaning and teaches its reader about different things, one of the main ones that teaches the most is
Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the 17th century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the time period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately understand Rubens’ point-of-view and thus, connect to the painting in a way he or she has never imagined.
This essay will reflect on how body is represented in the portraiture art within the Renaissance’s golden period detailing specifically Botticelli’s paintings and how this experience have broadened and enhanced my knowledge towards the future interest. This period arise when the medieval dark ages come to its end and artist and their patronage reinvented and represented the ideas of the classical mythology, particularly of the ancient Greek and Rome. It is a time when outstanding numbers of paintings, sculptures, alfresco were born and a human body was exposed as the centre of the universe. An epoch where the dominate themes were no longer pure religious devotions but it shift its focus primarily towards the anatomical beauty of the bodies, ideally represented. Furthermore, I will detail Botticelli’s paintings “The Birth of Venus” and briefly reflect on other two “Venus and Mars” and “Primavera” paintings. All three include the mythic figure of the Venus, who signifies both passionate love and intellectual love that still culturally lives in today’s world. In my view a real portrait signifies the components of the individuality and also can translates the ideal impression of the truth embodied within human body and soul.
Rossetti shows us the woman being painted as many different things. Although she is just a painting, the woman symbolizes how the artist views women in real life: as objects. Irony is used when the woman is painted as “a queen”(5). She is put on a pedestal in a position of power, yet she is only described as being “in [an] opal or ruby dress”(5), cementing her role as an ornament. The ruby symbolizes passion and perhaps promiscuity. Opal is a white stone that reflects many colors. White symbolizes purity; while the different colors reflected symbolize how her meaning can change, and how the artist controls her identity and can make her fit any persona he desires. The woman is also depicted as a “nameless girl”(6), indicating her identity is not important to the artist. It also shows that he does not personally know the women he’s painting, but only their looks, affirming that he bases their value off of their appearances. Lastly, the artist portrays a woman as “a saint [and] an angel”(7) and compares her to the “moon”(11), an allusion to Artemis, the goddess of virginity. In this painting, she is established as a pure virgin, which was a requirement of the time period Rossetti lived in. However, because it is one of the fantasies the artist creates, and the poem antagonizes him, this line also expresses the idea that a woman’s purity should not define her. He makes the innocent virgin and the licentious queen the only ways women can be viewed. Yet, they are the same to him. Lacking depth, their physical description is the only thing giving them any meaning. Rossetti describing the portraits conveys the idea that no matter the position in society; or what their actual personalities are like, women are just blank canvases for men to project their fantasies onto. Uninterested in a real person, the artist worships the idea of a
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