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Renaissance art essay
Modern renaissance art
Modern renaissance art
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“Judas did not make only one kiss. (Judas n'a pas fait qu'une seule bise)” This quote from Charles de Leusse, tells the story of the two unsung heros of the late 13th and early 14th centuries are Giotto di Bondone and Duccio di Buoninsegna, and their two very similar but different paintings of Kiss of Judas. These two great minds developed a distinct style of art and are recognized as some of the greatest artists of arguably the most artistic period in history, the Renaissance. Critiquing the differences between these two amazing storytellers we will look at the Patronage, the location for which they were commissioned, as well as how both of these components relate to their function. Although both these artist have many differences throughout their work, Kiss of Judas, speaks volumes to their similarities and differences. …show more content…
A wealthy Paduan money-lender named Enrico Scrovegni patroned the Scrovegni Chapel, where Giotto di Bondone’s fresco entitled Kiss of Judas is located. Mr. Scrovegni is said to have commissioned the Scrovagni Chapel as well as the Kiss of Judas fresco, to atone for the sin of usury. Usury, as explained today as, the practice of making unethical or immoral monetary loans that unfairly enrich the lender, which Scrovagni was known for from time to time to do. The Scrovegni Chapel is located in Italy and was built during the early Renaissance period during the 13 century. Giotto tried conveying the biblical story of Judas in a narrative style, so that illiterate viewers could understand in full the whole story without missing any
Judas at the Jockey Club, written by William H. Beezley, is used as a tool for those observing Mexico’s history during the Porfirian Era. This supplemental text addresses the social and political issues that were prominent during the Porfirian Era under the dictatorship of Porfirio Diaz; whose goal was to lead the modernization of Mexico. Porfirio Diaz was the president of Mexico in 1876; he made a false promise to resign in the Creelman interview in 1908 but did not officially resign until 1911. Beezley displays an analysis of the segregation between the common people and how they attempted to deal with an oppressive government. Judas at the Jockey Club is important to this Latin American course because of the extensive background Beezley provides to shed light on the tensions that allowed the socioeconomic gap to exist.
To conclude, both sculptures do not have much in common, but it is obvious that the artists had knowledge in human anatomy and was able to sculpt them spectacularly. It is also obvious the break from somewhat idealistic to realistic human nature. The change is so drastic that one might not believe that both sculptures come from the same Greece because it is so well-known for its astonishing artworks found in temples, building, etc.
between the two authors, they share similarities towards the message they try to send out.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
These two paintings represent typical examples from 14th century Italian artist, Barna da Siena, and 15th century Flemish artist, Rogier van der Weyden. Both images depict two main characters in a rather symmetrical composition and are of large size. However, it is clear that over a century and different region the stylized differences are very clear. Realism, the style of Flemish artists at the time, with all of its detail, is quite different from the large, flat shapes of color in Barna da Siena’s painting. Just by looking at the two, it is evident that the second painting is more advanced and developed. Art continues developing along different tracks today and who knows what art will develop into in the future.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
This essay will closely study and describe Rosso Fiorentino’s The Descent from the Cross. The painting depicts the process of Jesus Christ being taken off of the cross.
A common topic of artwork throughout history has been the crucifixion of Christ. Since it is such a common topic, it makes it very easy to see how artwork changed and developed from the Middle Ages to the Renaissance. The painting on the left, The Crucifixion by Pietro Lorenzetti, shows the usual characteristics of a painting from the Middle Ages. The facial expressions are not varied or very in depth, Jesus and the other saints have the typical halo that is used very often, and the colors are mostly all bright, making nothing in particular stand out. The second painting, on the right, is by Caravaggio and is titled The Flagellation of Christ. There is an obvious shift from one painting to the next. Caravaggio’s piece is much more realistic.
Judas Iscariot, the disciple, hanged himself from a tree after betraying Jesus Christ and giving him a kiss. The tree in which Judas hanged himself is known as “Judas Tree,” mainly found in Southern Europe and Western Asia. In the short story “Flowering Judas” written by Katherine Anne Porter the title is related to this religious event of betrayal, murder, and denial. The two main characters in this short story are Braggioni and Laura. Braggioni is a cruel, powerful leader of Marxist revolutionaries in and around Mexico City. Laura is a beautiful American women, age 22, who took up residence in Mexico. Braggioni, Braggioni’s wife, and Eugenio also perform certain actions that make them betrayers, however Laura is Judas the betrayer in “Flowering Judas.”
Piero della Francesca presented an iconic image of the Renaissance in Italy in his own way, highlighting the two most important idols of the Catholic church, Jesus Christ and the Virgin Mary. Through oil paint, he connected sacred biblical meanings into his own masterpiece. He devoted Christ to portray him in a scene of blessing with his surroundings and other holy figures. The Madonna and Child with Two Angels (Senigallia Madonna), is a piece created with such emphasized meaning and such divinity of the holy, Jesus Christ and his mother the Virgin Mary.
Much of the art created during the Renaissance was geared toward religion, and with Michelangelo this was no exception. By th...
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
Aside from the conditions, which lead to the creation of these works, they share a number of other common threads. Symbolism aside these works are very similar on the surface. Both are a collection of seemingly disjointed images, which when put together by the reader or observer serve up a strong social message. That messages being that the wars and conflicts of the times have twisted the world. This is reinforced by the contorted and misshapen images in both works.
Masaccio’s The Tribute Money is revolutionary because it embodies a new sense of realism, launching Early Renaissance painting. Masaccio departs from tradition when
The stories are similar in many ways, but they are also very different. This can be related to the relationship between the two religions themselves.