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Mary magdalene character study
Mary magdalene character study
Mary Magdalene in the New Testament
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Concepts: Mary was a great believer and lover of Jesus Christ because of her repentance of her sins that he forgave her. Mary Magdalene is a universal biblical figure besides Jesus Crist and the Virgin Mary. The first two of the artworks are religious art that are for church purposes and the last artwork is not is a church but it’s for Catholicity display. Religion has to do with forgiveness, sacrifice, faith, since, repentance, spiritual, light, and darkness. Magdalene is mentioned in the gospels and apostles.
Ideas: In the seventeenth century Mary Magdalene was really important in all the Catholic countries. In the bible, it is known that Jesus Christ defended and forgave the sins that Mary Magdalene created because she slept with many men and that wasn’t permitted in the bible, but Jesus showed compassion and forgiveness. Mary Magdalene is considered a saint because she was a follower of Christ and she witnessed when he was crucified and when was buried and then later on resurrected from the dead.
The theme is repentance of sinners and trials that were sent by God. All three images of Mary Magdalene are of her thinking of the death of Jesus Christ. They are all scenes from the bible of how Mary must have felt when she found out he was being sacrificed on the cross. They are religious acts and scenes of what should have also
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This sculpture artwork has a sense of realism in it as well as incarnation of the concept of the Christian repentance. It is for the purpose to have some knowledge of Magdalene since she had sinned and didn’t have any principles or morals. She didn’t follow the laws of the bible and was judged and stoned because of that. Her facial expression pleads for forgiveness, so she appears penitent for the since she committed. She looks unhealthy, tired, sad gaze, has her mouth opened, and really long hair. It is a sculpture that was made with a lot of emotion and religiosity in
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
A couple of symbols that can be observed closely in the middle painting are the lily flower which is Mary’s symbolic flower, the vessel in the niche represents Mary’s womb, the star pattern in her dress is the star of Bethlehem that the Magi were looking for and underneath the window is a little guy carrying the cross, a symbol of Jesus’s crucifixion. In the right painting the symbol of the grapes are inferred implicitly because Joseph is making tools to harvest grapes which are needed to make the wine used in the Holy Communion which then becomes the blood of
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
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
The depiction of Madonna and Christ is among the most ancient and common in Christian iconography and has an extensive number of variations because apart from its symbolic religious functions, it allows one to interpret the link between mother and child in many aspects. (8)
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
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
Mary Tudor or Queen Mary I of England was infamously known as Bloody Mary. While many believe Bloody Mary was an evil monster, others believe she was a great queen because of her many accomplishments. Mary was actually a good devoted Catholic others still to this day believe she was an evil woman, but with these interesting facts it will be determined that Mary was a good queen.
“The Met’s very own Mona Lisa” (Tomkins 9). That is what Duccio di Buoninsegna’s Madonna and Child painting is known as today. “The Metropolitan Museum of Art bought the Madonna and Child for forty-five to fifty million dollars” (Tomkins 1). However, the painting was not always in public hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their house and their collection went to their son, Jacques who held onto the painting, and passed it down to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was eventually withdrawn from the exhibition and sold (Tomkins 2). Madonna and Child painting dated 1300 and was painted by Duccio di Buoninsegna a Sienese painter, who is considered the founder of modern Italian painting. I chose to research this painting because the subject matter of religious imagery and symbols interests me. Also because when I looked at the painting the emotion on the Madonna’s face almost jumped out at me. It is as if, she is looking at her newborn child with this deep sadness, which almost makes you think that the painting is foreshadowing the death of Jesus Christ. In addition, the burns of the side of the frame peaked my interest, as to why they were there. Art critics were also interested in this work they even consider Madonna and Child one of Duccio’s perfect works, and it said to be worth all the other paintings exhibited under the name of Duccio (Christiansen 14). The Madonna and Child painting’s iconography, imagery, emotional appeal to the viewers, and meaning all make this painting still a great work of art today.
Carroll, James. "Who Was Mary Magdalene?" SMITHSONIAN MAGAZINE. N.p., June 2006. Web. 30 Mar. 2014.
The scene takes place in the clouds, she is in the heavens surrounded angels. It's a moment of pure devotion, love, and fantasy. Clouds are often connected to the gates of heaven. It is at these gates where you are in a liminal space between life and death. Your judgement is being decided. Thus, again suggesting that this is a vision of Mary's. Mary is looking at her child and seeing that he is meant to "live and die for our sins", and there is no way to stop it. He was born only to be led to his death. He is in the liminal space between life and death, thus the physical setting within the sculpture and the ethereal setting of the Madonna and Child parallel each other to help convey Donatello's idea that Mary is an extremely powerful figure whose life was entirely led by the idea of faith and trusting that there is a plan. Christ came into Mary's life by Gabriel, an angel, coming down from heaven to tell her that god has a plan for her and that she will be the mother of Gods son. Her life was predetermined by god and she was meant to have complete trust in her god. Donatello's purpose with this sculpture was to convince his viewers to trust in god, protect Christ, and show complete devotion to Mary and the angels. It was to convey that Mary is the Queen of the heavens and is someone one must tout and
...lvation, her relationship to the Church, and her cult within the Church” (Allman). The idea of honoring Mary had become a controversial topic for the Church around this time because many argued that it took emphasis off of God and Jesus. Vatican II did “not intend to suppress popular devotions,” but, “it did direct that they be reformed so that they should not appear to be something apart from the liturgy” (Rosary Since Vatican II). They also fully established Mary as a sign of comfort and hope, and said that “as Mary existed for Christ from the Incarnation, throughout his life, at his death, and for eternity, so Mary is the model of the Church as it hopes to be” (Marian Magisterial Document).
During the Elizabethan Era, there were many important rulers who made considerable changes to England. One of these people was Mary Tudor. Mary Tudor, esteemed at first, later was donned the nickname “Bloody Mary” for the things she had done during her time on the throne. When she succeeded to the throne, her goal was to make Catholicism the main religion in England. In spite of that, things did not go entirely according to her plan and ended up hurting her cause more than helping.
During the Renaissance, the Virgin Mary was prevalent theme throughout this period where artists such as: Fra Angelico, Leonardo da Vinci, Raphael, Bothicellical and Perugino were inspired to paint the Virgin Mary. The paintings show a motherly pleasant looking women holding or caring for her child. The paints are capturing the Mary as a human but giving her a divine appearance. The child being Christ shows her power by giving birth to him and by caring for the Son of God. In essence providing love, caring, and protection for the young child of God. For example, plate 15 and frame 23, these plates show a compassionate caring mother that is humanistic in depiction but larger or more encompassing of the painting than the Christ child. This is implying her importance in the early life of Christ. This also shows the power or her earthly influence over the child even though she is a human and not a deity. This gives her a special place in the church as the earthly Mother that is the most perfect of humans, other than Christ.