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Renaissance art exssay
Renaissance art exssay
Renaissance art exssay
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‘Judith Slaying Holofernes” is an oil on canvas painting painted by an Italian female artist Artemisia Gentileschi completed between 1614-20 in the last Renaissance period. It now lives at Museo Di Capodimonte in Naples, Italy.
Religious Value: This is a dramatic but powerful painting which comes from “Apocryphal book of Judith” in the Old Testament of the Bible. The biblical story inspired many of her paintings.In this painting it shows Judith who is a young widow from the Jewish City of Bethulia and a biblical herione beheading the general of the Assyrian army. The King of Nineveh sent this general, Holofernes to kill his enemies which were the Jewish people. A lot of Jewish people in Bethulia where Judith lived got killed and began losing hope. Judith decided to take things into her own hands and snuck into the camp where they were staying. She seduced Holofernes with her beauty, this causing Holofernes to drink more than he planned and becoming extremely drunk. When he is out of sane Artemisia see’s it as her chance and beheads him with the help of her maid who is the second woman in this painting holding him down. Ever since then Judith has been seen a biblical heroine and looked up at for standing up for her town against the Assyrians. So this is painting has a religious value mostly for Jews as the painting can be seen as there sign of freedom.
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Personal Value: Artemisia Gentileschi was raped at the age of seventeen by her mentor Agostino Tassi who was taken to court and after a seven month rape trial was imprisoned for two years.
Even though he was imprisoned it still ruined Artemisia reputation. It also angered and haunted her causing her to paint a lot of her feelings in paintings. We see her feelings in this brutal and graphic painting where Judith is killing Holofernes, it is believed she has painted herself as Judith and her mentor as Holofernes making the painting very
personal. Art Historical Value: Artemisia Gentileschi painted woman but not in the stereotypical feminine way, she painted woman to be brave and powerful, equal to how men were painted. She rebelled against stereotypes and we see this in this painting where a woman is killing a man. There also wasn’t much female artists at the time and it was very hard for woman to be able to go to schools like male artists did to learn and train to be better. Even though there were other female artists they were usually looked over by the male artists and it was still a very uncommon and difficult path to choose at the time. Art critic Roberto Longhi's described Artemisia as “the only woman in Italy who ever knew about painting, coloring, doughing, and other fundamentals”. So for a woman to be an artist and be recognised for her work is a big deal, mostly in the time of the Renaissance period. Also for a woman to paint such a brutal painting was not expected of them. ‘Impression Sunrise’ is an oil on canvas painting painted by french artist Claude Monet in 1872. The painting now lives at Musee Marmottan Monet in Paris. Art Historic Value: This painting is seen as a symbol of the impressionist movement and is the painting that got the impressionism period it’s name. This painting is of the view from the Le Havre in north western France. This painting got a lot of criticism after starring in the Exhibition of The Impressionists which is an exhibition Claude Monet and a couple friends of his which were also impressionist artists opened after becoming sick of waiting for the Salon, the only official state sponsored exhibition to chose one of their paintings to display. Art Critic Louis Leroy saw the exhibition which included Monet’s painting ‘Impression Sunrise” and wrote that all the paintings there were just impressions and the name stuck. This painting also has all the style features impressionism was known for, he caught a moment in time with light. The way it is painted is with thick not very blended and visible brush strokes it lacks much detail and looks effortless which they were also known for. Personal Value: Even though the meaning of this painting is a mystery to some it can have a personal value to it. Monet moved to Le Havre where ‘Impression Sunrise’ is painted at the age of five meaning he grew up there for most of his life being blessed with the view of what he painted way before painting it. Ever since moving there he gained a love for being outdoors and an interest in painting. This painting is a painting of the view from his house which means this view was something he saw a lot of and meant a lot to him as it is what the outside looked like to him from inside his house. Aesthetic Value: It has a lot of aesthetic value because of the beauty of it.It is not a well blended seamless painting but the different tones of pigmented colours and short thick strokes make it very unique and interesting to look at. It attracts you because of how different it is. ‘For the Love of God’ is a sculpture made by English artist Damien Hirst in 2007. The sculpture now lives in White Cube which is an art gallery in London. Material Value: This sculpture was made using a real human skull which is believed to be the skull of a 35 year old European man who died in 1810. Attached to the skull are real human teeth who also belong to the European man. After buying the skull from a shop in Islington, London he bought 8,601 small flawless diamonds and one pear shaped diamond. He bought so many diamonds at once leading there to be shortages in the market. He decorated the skull with all the diamonds this making the sculpture 1,106.18 carats and very expensive. This sculpture costed Hirst 23.6 million to make. Monetary Value: Despite the material of this sculpture only costing Hirst 23.6 Million, On August the 30th 2007 he put it up for sale for 50 million euros which converts to $7 969, 778. 60 in New Zealand dollars. There was a lot of controversy surrounding its sale and if it actually did really get sold. It’s believed that he struggled to sell it and lowered the price hoping it would. Damien Hirst claims he sold it all in cash that meaning no paper evidence and said the buyer would like to stay anonymous. Many say he sold it for too much considering he paid less than half to make it leaving it unreasonable. People say it is very popular because of how much it costs and the money factor of it all. Spiritual Value: Many people see this sculpture differently, some see it as just ‘bling’ which Damien Hirst says he was avoiding. But this sculpture shows the relationship of art, life and death and to remind us of our mortality.. It’s seen as a ‘Memento Mori’ which is a latin expression that translates to ‘remember you have to die’. Him using a real life skull represents the life of a human and that it does come to an end. He said he doesn’t like death and that it is “a heavy subject, it would be good to make something that laughed in the face of it” and he does this by glamorizing something that shouldn’t be with diamonds. The fact it is glamorized can be seen as that it’s ‘not that bad’.
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.
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.
Chapter 6. 1717: in Delfzijl, Aunt Rika, wife of a slave trader, offers the painting as a bribe to her nephew Adriaan to hide the evidence of his bastard child and keep her name respectable.
In addition, scenes from the lives of the Virgin Mary and St. Blaise, a fourth century martyr, are also present. All the characters in the panels more or less have halos and therefore are holy figures. The twelve apostles line the bottom of the panels, perhaps suggesting that they were the foundation of the Catholic religion. Basically, the painting is designed for a church altar, it has religious figures in it, and it is filled with Bibles and images of Christ's crucifixion. All of this relays a strong message to the viewer that this is what is important in life; one should pay close attention to religion and have respect for
CELESTINE BOHLEN, “Elusive Heroine Of the Baroque; Artist Colored by Distortion, Legend and a Notorious Trial”, New York Times, Published February 18, 2002
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.
Examining the iconography in this sculpture, there are two details to note. The first is the grapes in the Virgin’s hand. The grapes represent
( footnote book ). This painting had multiple purposes, it was used in religious rituals and commemorated as a funerary moment of Christ. In the painting there are three fictional spaces one which holds the chapel with the trinity, Christ the son on the crucifix, we see the dove, the Holy Spirit, looks like gods collar, and above we see god. He’s demonstrating the sacrifice of his son which redeems human’s sins. A second space where we see young St. John the evangelist and on the other side there is the Virgin Mary presenting the second space. The virgin’s stoic impression; penetrating the audience, saying that it’s a reminder of what Christ was sacrificed for and the constant reminder if redemption. She’s not the fallen virgin, she is very somber and serious. This is why this is considered a devotional piece and also what Alberti would call a ‘historia’. Mary is the one is the historia depicting what is going on, as Alberti states, she is the character that beckons the audience with her hand, holding a ferocious expression and forbidding glance, this is the gesture that invites you to laugh or weep with her.(footnote course) In this instance it is to remember and be thankful to Christ and how his sacrifice redeemed mankind from their sins.
Helen feels apprehensive about leaving Menelaus for Paris, she says “it would be too shameful.” (Iliad, 3.410) and in doing so, she would lose her well maintained reputation in the eyes of all Trojan women. Since Aphrodite is the goddess of love and since Paris fulfills her desire, she must return the favour and unite Helen and Paris. So she further arouses Helen by threatening to“forsake [her] and grow to hate [her] as much as now [she] terribly [loves her]”(Iliad, 3.414-415). This not only frightens Helen, but also instigates her to follow Aphrodite to the bed of Paris and in the process of doing she successfully leaves unseen by the Trojan women. Infuriated that his wife has deserted him for another man, Menelaus and his brother Agamemnon alongside many other greek warriors, decide to take action against all of Troy. The Trojan war between the Greeks and the citizens of Troy escalate quite rapidly, leading to the death of superior figures of Troy and great Greek
One of the very first well-known portrayals of this narrative was by Giotto di Bondone. From around 1304, it is an Early Renaissance painting. Jesus is lying down, cradled by the Virgin Mary, and Mary Magdalene is cares...
Finally, a man’s portrait in the bottom right of the painting. This painting is supposed to represent the biblical story, Noah’s Ark.
... right is the only part of the painting that has gold leaf in it, on her gown, what looks to be a gold collar, and a gold necklace with a pearl. The gold she is garnished in represents royalty and the holy. An interesting illusion is seen the left angel’s hair and how it’s illuminated by the sun creating a halo.
Perspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the
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
This oil painting is set in the 1800’s according to the author’s time period that he was alive. The context of the painting has the setting take place on a train with three people in the viewer’s perspective: a seated lady