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Conclution of christian art
Christian Art essay
Conclution of christian art
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Christian artwork resembles the monotheistic belief of a single God known as Christ. Christianity is one of the principal religions and ethics of society. Such artworks assist Christians in seeking to conform their lives and their societies to the will of God as revealed in sacred scripture. Christians created a powerful figurative art using human beings as an expressive symbol. Christianity constructed the Christian church, which has become the largest patron of religion. The Christian church has utilized many works of art to express their religion and show power, thus attracting worshippers. Through these works of art, Christian iconography was prominent. Christian iconography consisted mostly of sculptures. There are sculptures of prophets, apostles, and saints, and paintings of altarpieces and church murals. The Virgin Mary is known as the greatest of all Christian saints, the holiest of all. She is the mother of God and born free of original sin. She exemplifies piety, humbleness, and holiness. The two Christian artworks The Virgin and Child in Majesty with Saints Quentin and Placidus and The Assumption of the Virgin share similar colors, iconography, symbolism, but have different connotations.
Domenico Puligo’s piece titled The Virgin and Child in Majesty with Saints Quentin and Placidus is from the
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The five saints on the bottom are St. John the Baptist, St. James, St. Thomas, St. Laurence, and St. Bartholomew. St. John is the patron Saint of Florence. Here, he has a camel hair shirt and reed cross. St. James is a Patron saint of Spain. Next to St. Laurence is a gridiron, where people would be punished. St. Bartholomew once preached in Armenia and he was seized by heathens and was crucified. Thus one of his attributes is a flaying knife, which he holds under his book. Above Virgin Mary are two angels and below her are three angel
The Ghent Altarpiece painted in completeness by Jan and Hubert van Eyck in 1432. This altarpiece is filled with symbolism. One of the most important pieces of the altar is the Deity Enthroned, which represents the Lord in Christianity. The painting covered with symbols and words. The artists portrays many signs with different meanings from the deity’s clothes to the background.
The tendencies of Baroque translated differently in parts of Europe. In Italy, it reflected the return of intense piety through dense church ornamentations, complex architecture, and dynamic painting. Calabrese’s work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired Caravagesque style that alters how paintings were composed from then on. Executed at the height of Calabrese’s most creative phase, St. John the Baptist Preaching is indicates the monumentality of change in urbanization as well as the return of Catholic permanence in the 1600’s. Aside from the Baroque power of the artwork, Calabrese’s St. John is a piece worth gravitating to and stands as reminder of the grandiose excesses of Baroque art.
and the Dove of the Holy Spirit rests on Christ's halo. In front of the
The chosen art work is "Miracle of St. Dominic." This painting is a tempera on panel, painted by the Renaissance artist Taddeo di Bartolo, in the year thirteen sixty three. The painting is currently housed at the McNay Art Museum, measuring approximately 10" high by 10" wide. In this particular painting we are witnessing a miracle by St. Dominical. There are spectators and a horse that lays above the man in red, who St. Dominical has brought back to life.
GRISELDA POLLOCK, review of “Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art”, THE ART BULLETIN SEPTEMBER 1990 VOLUME, LXXII NUMBER
John looks down towards the Christ Child, and he together with the child and Mary form a triangular composition on the left side of the frame with the Christ Child as the focus. St. John is the patron saint of Florence, referencing Sellaio’s Florentine origin. He holds his hands together similar to the Christ Child, in reference to praying for his wellbeing. He also smiles reverently, matching Christ and Mary to establish the happiness brought by Christ’s birth.
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 major difference in the artwork is in the depiction of their prophet. The Muslims, forbid the depiction of God or even Mohammad. In Christian religion, Jesus and God are constantly drawn and painted. This is common in the Christian artwork because at the time not many people could read. As a result, the stories of the bible were often drawn or painted. The Christian Churches are filled with pictures of the life of Jesus. There is no prophet or person in the Christian religion that a person cannot depict due to religious rules. The Muslim mosques are also covered with beautiful and awe inspiring art. The mosques are drenched with beautiful patters and works of architecture along with Arabic
The Christian Church was absolutely instrumental in the art of the Renaissance. It was the driving force behind every inspiration; without the Church, there would have been no art. The Church was the only institution powerful enough to be able to support the commissions of all of the artwork, and it was the only institution, in which people had enough faith and devotion to spend so much of their time and money creating pieces that—although beautiful—were not necessities. The role of religion in art actually began during the Byzantine era. During this time, all artwork was religious in nature, and most of it was done in a consistently similar style so that figures from the Bible could be easily recognized by everyone and so that people had a consistent view of religious matters. Art during this time was largely iconic, meant to inspire the awe of God in the viewer. Along with various versions of the crucifix, one of the most popular images of the Byzantine style was The Pantokrator, an image of Jesus Christ as shown from above. An example of one of these pieces was done in the twelfth century in the abbey church of Monreale in the city of Palermo. Jesus is a monumental figure that takes up much of the space across the apse of the Church. One of his hands forms a mudra as the other holds the scripture. His fully frontal and direct stance along with the glimmering gold background serves to strike awe and fear into the viewer. Clearly this piece was done with the intent to impress the value and mightiness of religion first and attention to the detail and technique of the art second.
Early Christian art during the period of Roman persecution was highly circumspect, and innocuous objects—the fish and the dove—were used to symbolize Christ and the Holy Spirit. Later Christian art, however, became replete with iconographic symbols. In particular, many of the saints became associated with specific objects—Saint Peter with two keys, for instance, or Saint Catherine with a broken wheel.
Majesty’s Mystery was created by Elizabeth E. Jenkins, a Memphis, TN native, who is inspired by the need for relaxation and embracing the mind, body, and spirit. The Majesty’s Mystery brand desires to bring beautiful comfort, embellished in dreamy glamour, into girls, young ladies, and women’s lives, all over the world.
Whether or not we notice it, Art is always around. It can come in the form of a beautiful painting in the Smithsonian Museum, a sculpture by Michelangelo, or as graffiti on the wall. Whatever the form, art is always present. Additionally, art is not new; for as long as there have been people, there has been art. Though rare, early Christian art manages to express, in picture form, a story from the bible. One piece, which was actual a mural painted in the fourth century, on walls of the mausoleum of Galla Placidia in Raveena, Italy, depicts Christ teaching his apostles. Just a few miles away in a Vatican City museum is a statue from the third century which also depicts Christ as the Good Shepherd.
Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
Smith, R. “Eternal objects of desire. Art Review- Art and love in Renaissance Italy” in New York Times Art and Design, November 20, (2008)