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Art and emotion essay
Art is a communication of emotion
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Introduction Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008). There are a number of artists involved in this field who used their works to pass specific information such as Leonardo da Vinci. The other acknowledged artist is Michelangelo Buonarroti; an Italian artist renowned for his famous fine pieces of arts. The Pieta piece of art is among some of the works that were sculptured by this particular artist. The name is an Italian word that means pity or compassion. With regards to this work this paper will through research provide its details with regards to more information about it, the artist, history as well as its background. History, Background and Theme of the “Pieta” Piece of Art The Pieta as a master piece of work is an art sculpture of Michelangelo located within the Vatican City inside St. Peter’s Basilica and where as is described by to Fisher, it is not possible to see it from outside (2007). Made from only one piece of white marble from Carrara, it was created for the period of the years 1498 and 1499 taking two years to its completion. Among the greater variety of works by this artist, it is the first that was worked on bearing the same theme of pain and redemption combined with beauty s the final product. It is also the only one that bears his signature on the diagonal ribbon across Mary’s chest. Pieta ... ... middle of paper ... ...ich does not require a lot of observation to notice what the artist intended. It is therefore apparent that the same level of appreciation the Pieta has received in the past will continue into the future for a long time. Works Cited Fisher, I. (2007, April 22). Affordable Europe | Rome; In the Eternal City, Priceless Art for No Price at All. New York Times , p. 11. Hogg, S., & Brewer, S. (2010). Frommer's Italy day by Day. US: Frommer's. Hupka, R. (1999). Pieta. Carlifornia, US: Ignatius Press. Lewis, R., & Lewis, S. (2008). The Power of Art. Connecticut, United States: Cengage Learning. St. Peters Basilica. (2009). Chapel of the Pieta. Retrieved April 15, 2011, from St. Peters Basilica: http://www.stpetersbasilica.org/Altars/Pieta/Pieta.htm William, W. (1995). Life and Early Works (Michelangelo: Selected Scholarship in English). Dallas, US: Garland.
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
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.
This sculpture of Adam by Lombardo shows the true craftsmanship and skill of sculptors in the 15th century. It stimulated my curiosity because of its realism and the important religious story that it depicted. After examining this sculpture I was encouraged to explore similar works throughout the museum. I also enjoy the variety of art found at the Metropolitan and plan to you to visit again to wander through the galleries that I may have just passed by.
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
Andrea Pistoia, completed in 1301, is in his finest Gothic style. Like Nicola Pisano's Pisa Baptistery pulpit, Giovanni's pulpit in Pistoia is hexagonal, but he introduced Gothic architectural elements, such as the oval arch, whereas Nicola had used Romanesque elements. The flair of the narrative reliefs is, likewise, strikingly different. Instead of focusing attention on the figures, Giovanni emphasized the abstract movement of light and shade across the surface. The carving is deeply cut, in places, to accentuate the rhythmic movements of the figures and the backgrounds. The statuette poses and gestures of individual figures tend to be made part of an overall rhythmic pattern, always graceful, always elegant. Where an episode leads itself to sudden and striking depiction, as in the Massacre of the Innocents, Giovanni surrenders to a bleak emotional display which accentuate the pieces very eloquently both to the viewer.
Cohen, Merdith. “An Indulgence for the Visitor: The Public at the Sainte-Chapelle of Paris.” Speculum, Vol. 83, No. 4 (Oct., 2008): pp. 840-883.
He eventually ended up in Rome in 1499, where he created the St. Peter’s Pieta. The Pieta was a sculpture of the seated Madonna holding Christ’s dead body in her arms. He did not depict it as how other artists thought it to be a sculpture of pain and redemption. Instead, he created the sculpture to resemble the earthly beauty of humans and the dead to an anatomical and an equilibrium scale. Therefore, he gave this particular scene a “touchup” by adding his own creati...
The next sculpture that Michelangelo made was for a French cardinal, Jean Villiers de Fezencac. The cardinal wanted a sculpture of Virgin Mary and Jesus. Michelangelo signed a contract to be paid 450 ducats if he completed the sculpture in one year. Gladly, he finished the sculpture successfully. The sculpture was called the Pieta and consisted of the siting Virgin Mary with the dead body of her son Jesus across her lap (McNeese 35).
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
These sculptures presented the body in a way no had ever seen before. Most of the sculptures were very detailed, had Greek and Roman classical influences, and were free standing with the often use of bronze to construct them. A few examples of sculptures are Michelangelo’s David, Moses, and Pieta. His David marble sculpture glorifies the human body and is standing in a contrapposto stance, with more weight on one leg. Contrapposto is very humanistic as it was used a lot by ancient Greek and Roman sculptures. The facial expressions as well were very individualistic and emotional. Michelangelo’s Pieta was the most “perfect” block of marble he had ever used. This sculpture is Mary holding the dead body of Christ before he was placed in the tomb. The proportions of the body are not entirely natural in relation to the other as Mary’s body appears much larger than Christ’s. Michelangelo’s Moses was another example of a sculpture in the Renaissance. This sculpture is very large and shows the power of the man which gave people even more ideas about the
The piece Madonna with Saints and scenes of the life of christ ,a portable altarpiece and tryptic painting series by artist Maso Di Banco one of the most gifted pupil and associate of Giotto(The Brooklyn Museum,European art).Illustrates the life of christ from the birth of christ from right the birth of christ,center the annunciation of christ,left the crucifixion and top center the resurrection of christ.This piece shows just how much christianity was valued.This art form was so significant to this period they pass the practice down.Through books like ll Libro dell'Arte c.1370-1440 with step by step instructions on this technique cennino cennini on panel painting(cothren And stokstad 544).These artist created shrines to christ as seen in the piece by Maso Di Banco.The three dimensional portable gold altarpiece with decorative relief...
Burton, David. "Exhibiting Student Art." Virginia Commonwealth University Journal 57.6 (2004): 41. eLibrary. Web. 30 Oct. 2013.
Ziegler, Joanna E. “Michelangelo and the Medieval Pietà: The Sculpture of Devotion or the Art
Michelangelo di Ludovico Buonarroti Simoni was a painter, sculptor, architect, and poet. He was born on March 6, 1475 in, Caprese, Italy. He was the 2nd born of five sons. He passed away at the age of 88 years old on February 18th, 1564. He was one of the most famous Italian Renaissance artist. He became an apprentice to a painter before studying sculpture gardens of the power in the Medici family. Michelangelo had several works in his time. His most popular sculptures were “Pieta” and “David” Some of his painting are “Sistine Chapel” and “Last Judgment” The pieta painting had showed the “Virgin Mary holding of her son Jesus after he
Seymour, Charles. Michelangelo, the Sistine Chapel Ceiling: Illustrations, Introductory Essays, Backgrounds and Sources, Critical Essays. New York: Norton, 1972. Print.