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Recommended: Baroque art essay
I have chosen to do my critical analysis project on The Holy Family on the Steps painting created by Nicolas Poussin. Poussin was a painter of the Baroque Era, he created this painting in the year 1648. This painting was created using oils and a canvas. The interesting thing about oil painting is that they dry slowly, which then gives the artist the ability to rework them. This painting is a very beautiful painting with a larger meaning; according to The Cleveland Museum of Art’s website “it is representing the Holy Family’s role in the redemption of humanity” (The Holy Family on the Steps, 1648, n.d.). In the painting Mary, Christ Child, Saint Elizabeth, Saint John, and Saint Joseph are all represented. Certain things happening in the photo are keys to things that have happened in our past which was also explained by The Cleveland Museum of Art. Saint Elizabeth is said to be leaning …show more content…
Focusing on the area where Christ Child, and Mary are sitting above everyone on the stairs. I feel as though the light is also shown more brightly not only on their faces, but also on their bodies. Everyone else in the painting with the exception of Saint John is represented with more shadow on their faces, Saint Joseph seems to be sitting in a shadow due to him seeming to just blend in with the background of the photo. There are many forms in the background of the painting, including the steps, trees, and the structure’s behind the family. Both tints and shades are used throughout the painting, also there are bright areas of the painting in contrast to the colors of lesser value. The artist used chiaroscuro throughout the photo in the figures they all appear to be three dimensional forms rather than two dimensional. The highlighting featured in this painting is beautifully done, causing the figures to appear as if it was a moment taken right out of
At first glance, the painting is very dark and shadowy convening the message of a sinful world. The chiaroscuro represents that we do not live in a perfect world, there is always evil lingering in the shadows. The main light source in the painting
The texture of the paint is smooth and flows very nicely the paintings composition is primarily bundled into the bottom right half of the image. The wings and legs of the animals as well as and table help form an invisible sloping line across the painting.
For example, Masaccio used the medium fresco. It dries quickly and requires the artist to work fast with color broadly applied. This medium enables Masaccio to create generalized forms over the precise details of oil and tempura painting. However, Campin used the oil medium. This gave him the ability to create jewel-like illusions of reality. Campin and others of this era were motivated to paint the external world and all the different facets that create it. On the other hand, Masaccio wanted to create a painting that is more realistic and wanted the people to be able to relate to the art. Also, both artists use light and shadow to highlight and emphasize different parts of the paintings. For instance, Campin lit the room with sunlight and put a focus on Mary’s dress. This lighting causes the dress to turn into a shape of a star. This can symbolize the presence of the star of Bethlehem. Many other religious symbols are found in the painting. The eyes are not drawn to a particular object. This is not the case in Masaccio’s painting. He does not particularly shine light on one object. Even though the eyes are drawn to Jesus, we get a sense of balance between all the objects. This portrays faith and it’s mysteries as well as the perfection symbolism that comes with God. Masaccio creates a three dimensional like form even though it is on a two-dimensional surface. The painting shows
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
If one came close to the figure’s stomach where there’s the seafoam green, one can see the strong mark makings of the paint brushes and knife strokes, making the paint come out of the canvas. Similarly, Brown also uses big paint strokes of different colors to direct viewer’s eyes around the artwork. For instance, on the left side of the figure, there is a big vertical downward motion of a brush stroke in maroon, that connects to a green streak that goes up and encompasses the figure’s head and then downward to the body of the figure, which outlines and pushes the figure to stand out. And to make our eyes go back to the figure, Brown paints a blue triangle on the chest, making it a focal point due to it’s dark color that stands out of the light colors. And if someone stood facing the side of the painting, one can see the thick globs of paint that would make the viewer take a double glance to see if it was either a painting or a sculpture, which reinforces the idea that the painting is coming alive and making one feel
There were rays of sunlight that were depicted as well. The light in the painting seemed to be focused in the middle, where the stream was. Other areas and parts of the piece were dark or darker than the area in the middle. I think that a trick with shading or lighting was used. Perhaps, it was tenebrism.
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 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
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.
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
The Painting Martha and Mary Magdalene is one of the many masterpieces in the DIA’s collection in Detroit. Although there is much more to understanding a work of art then just looking at it. In order to understand a piece, you have to understand the Artist, the time period, and the symbols in that painting that may have very different meaning today.
Caravaggio’s painting is unique due to its wonderful use of chiaroscuro, which is the contrast between light and dark. For example, the painting “Supper at Emmaus (1602)” illustrates Jesus and his disciples in bright colors and uses a dark tint for the background (Miller, Vandome, & McBrewster, 2010).
The theme can be generally recognized in this piece through color, space, and especially through use of light. The colors used in this piece are mostly calm toned, whereas the robes and shawls worn are pale blues, corals, and beiges. There are however, some harsh colored objects such as Mary’s navy blue shaul and deep coral gown, as well as Christ’s coral necklace that stand out from the rest of the colors. Mary’s veil and the angel on the lefts’ hair are translucent in certain streams of light coming from the windows throughout the room. The artists suggests that the light is dedicated not to represent the divine but to rather represent a more natural juxtaposition on the piece. The space that the characters stand in is fully used by the subjects but also has a very interesting doorway with heightened perspecti...
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.