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Essay about early Christian art
Essay on a religious painting
Essay about early Christian art
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Historical themes are prevalent in art. Especially, political and religious narratives dominated Europe, from Medieval times to the Renaissance. Christian topics were prevalent as well as Christian ideology and symbolism. Judith with the Head of Holofernes by Massimo Stanzione, an Italian artist, is an example of Christian Biblical stories illustrated in art.
Judith with the Head of Holofernes is an oil painting on canvas and measures a staggering 78.5 by 57.5 inches. The painting depicts a heroine, Judith, on a mission to decapitate the general of an enemy army planning to kill the Jews. In this Old Testament book, Judith is given the gory yet pivotal job of saving her people from slaughter. This story is commonly depicted in art. Well-known artists such as Artemisia Gentileschi, blank, and blank have adopted the tale of Judith and created many pictures based on it. The image of a strong woman has made her especially important to women and feminist artists. The two main scenes chosen are the act of Judith decapitating Holofernes and Judith with the head of Holofernes, after she has killed him. In Stanzione’s
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The drapery itself is an implied texture, which can be taken even further. The implied heavy nature of the flowing layers of clothing covering Judith provide a smooth graceful movement which indicates that the fabric is moving with Judith although its heavy weight. The yellow fabric of Judith’s dress has an additional implied texture from the scrolling flor de le pattern on the material. The implied texture of the feathers and jewel in Judith’s head-wrap appear as symbols of importance, beauty, and wealth. The implied texture of Judith and her maidservant’s surroundings include rough, jagged, and broken rocks, which seem to have been constructed into some structure which has now fallen. The surroundings are a parallel to the fall of Holofernes and this army, all thanks to
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.
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.
The dominant line in this piece of art would have to be a straight line. To be precise, the vertical straight line is a vivid piece to this art. Within the art, you can also see shapes such as squares and rectangles. These four sided shapes are found in many different aspects of the artwork. For example, the buildings in the background are rectangles, and the border is full of rectangles and squares. The form of this art is clearly 2D, considering it is on canvas. Although, Ringgold did an amazing job at portraying a sense of 3D degression. The texture of this art is considered to be rough and clothlike. This is due to the fact that “Ringgold’s vehicle is the story quilt” within this work of art. (Spector, Nancy.) The space of this art could be described as busy. There is something new in each square of the quilt. There is also a large value change if you compare the inner middle of the artwork to the surrounding edges of it. The core of this piece of art is dark while the outside is light. The type of balance would be considered asymmetrical. There is also not a distinct pattern in this piece. Another detail to this artwork is that everything is in proportion. The only rhythm and movement found is the young girl in the sky looks as if she is flying. A strong contrast found is, again, the bright floral border compared to the dark picture inside. The pieces of this piece are bold and do not work together because they highly
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.
Hans Holbein became an important portraitist of wealthy society in Europe during his two visits to Europe. One of the portraits that he painted was The Ambassadors, which shows a dual portrait of Jean de Dinteville who was a French ambassador for England, on the left, and Geroges de Selve who was a French ambassador for several countries and a priest, on the right. The painting shows many characteristics that were painted there due to humanist influences. The picture represents how both of them were present at the court to discuss with Henry why he wanted to annul his marriage with Katharine of Aragon. Henry wanted to marry another woman named Anne Boleyn this would cause the separation of Church of England from the Catholic Church. There are many particular part of the painting that shows us how it is related to the renaissance humanism. To start with the painting has two individuals, which is an essential part of humanism. The Ottoman rug covering the table represents the division about to occur that will threaten Europe. The handled globe shows Rome lying in the center. Under the globe you will find a book of arithmetic that is held open by a triangle. It shows the division or disharmony between the Protestant and Catholics.
This is an extremely high relief sculpture made of limestone. It is to be viewed from a frontal standpoint. It however does have a potential for movement. There seems to be a great deal going on in such a close space. It is very crowded, but dramatic. The figures are intertwining with each other all at once even though there are different things happening. It reminds me of a play with scenes. You can actually step in to it and feel as though you are a part of what is happening because of all the different directions each individual is facing.
The deep color is very striking, especially the abundance of reds, pinks and purple. It seems very bold, perhaps suggesting the royalty of the subjects. The overcast gray sky is the same color as the dome of Solomon’s palace. Perhaps the dome is supposed to look as if it is made of metal, but it appears to reflect the trouble that is about to storm. The entire painting is almost composed exclusively of shades of red and black, with highlights of blue. The use of color is not realistic, but very symbolic.
It is a known fact that artists paint how they feel or about how they view the world, modern famous artists paint about political or social problems facing our world today such as Kerry James Marshall who paints about his view towards modern day racism. Artists of the renaissance period used art to materialize their thoughts and ideas instead of voicing their opinions and thoughts, artist of the renaissance period preferred to display their thoughts on a canvas splattered with paint. One example of artists expressing their beliefs through a brush and paint is the famous painting by Michelangelo, which was painted on the celling of the Sistine chapel. In the book titled Art, Power, and Patronage in Renaissance Italy by John T. Paoletti and
Art can show how religion and gender can affect one another in many different ways. I selected the Christ and the Adulteress, located at the Getty Center. Which was painted in the 1620’s. This painting shows a mysterious woman being punished while men are listening to Jesus’ final judgment. I want to focus on how gender and religion were treated during the 17th century. This was a time period when women were labeled as adulterers, or being accused of practicing witchcraft. And men were being judgmental when a woman did something that was unnatural. People relied a lot on religion, especially Christians in order to find the solution. I saw that the textbook doesn’t have no section with the relationship of gender and religion. The textbook, Exploring
During the Renaissance and through the 18th century, allegorical paintings were especially popular, as artists constructed elaborate symbolic schemes to illustrate such themes as the vanity of human existence.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
History plays a very important role in the development of art and architecture. Over time people, events, and religion, have contributed to the evolution of art. Christianity has become a very common and well established religion, however, in the past it was hidden and a few people would worship this religion secretly. Gradually, Christianity became a growing religion and it attracted many converts from different social statuses. Christian art was highly influenced by the Greco-Romans, but it was immensely impacted by the establishment of the Edict of Milan in the year 313 AD. The Edict of Milan was so significant that scholars divide Christian art into two time periods, time before and after the Edict of Milan of 313.
Art is important to religion in many different ways. Perhaps none has analyzed how art and religion have influenced and affected each other through the ages. Pictures painted of past events that help to bring back the feeling and importance of the past have been forgotten by some. To the one’s that haven’t forgotten are able to see the event’s as the bible says they happened. Not only can you see the events, but it also allows the younger students of the church to understand the events. The use of images of God became widespread after the second century. This religious art has defiantly been around for centuries and plays an important role to the history of religion as well as the future.
The most influential theme in art for centuries was that of religion. There have been many things that have influenced art over the generations. Nothing has had the impact on the art world that religions has. Many of the ancient art works were dedicated to the gods or other religious figures. The statues of the Ancient Egyptians were not just for beauty. Instead, they were representations of the gods and were meant to have significant meaning to the people who saw them. The people of the time knew the meaning of every reed, flower, bird, or animal that was depicted in the art. The same is true of the Greeks and Romans. Most of the art was inspired by the gods and the mythology of the region. Art as a way of imparting a message dominates the art world. For most of history, art had a meaning that was often connected to the religion of the region. This is fitting since art has a sense of permanence that most other mediums do not possess.
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