The Tribute Money Vs Michelangelo

Part I: Comparative Analysis The first painting on the first slide (the one on the left side) is 1425 fresco called The Tribute Money. It was painted by Italian Renaissance painter Masaccio, located in the Brancacci Chapel of the basilica of Santa Maria del Carmine, Florence. The second painting, the one on the right hand side, is called The Arnolfini Portrait, which is a 1434 oil painting on oak panel by the Dutch Renaissance painter Jan van Eyck. Both paintings are secular, with overly religious overtones. For instance, the subject of The Tribute Money is a cycle on the life of Saint Peter, and describes a scene from the Gospel of Matthew, in which Jesus told Peter to find a coin in the mouth of a fish in order to pay the temple tax. On

The second sculpture on the right side is a marble statue created by Italian Renaissance sculptor, painter, architect, and poet Michelangelo; the statue was created from 1501 to 1504. Both sculptures are titled David, because their subject is the Biblical hero David. Both sculptures deal with the unseen enemy, which is Goliath, the source of David’s aggression. Other than the same subject matter, both sculptures are very different; Michelangelo’s was very much a Renaissance sculpture because it is strictly direct, dictating the spectator to view it from one side, and one side only, which was the front. Bernini's David is a Baroque artwork in that it is not self-contained, but interacts with the space around it. It is three-dimensional in that it needs space around it and requires the viewer to walk around it, so that its changing nature can be viewed depending on the angle from which it is seen. Also, Bernini chose to portray David in the act of throwing the stone, that which will kill Goliath. Michelangelo’s David has a peaceful constancy, in that David is shown to be relaxed based on the posture. Bernini, on the other hand, captured a fraction of time in the course of a continuous movement, which is from the motion of David throwing the stone. In a way, the dormant

It is an oil on canvas equestrian portrait of Napoleon Bonaparte painted by French Neoclassical artist Jacques-Louis David between 1801 and 1805. The second painting is called Snow Storm: Hannibal and his Army Crossing the Alps is an oil on canvas painting by English Romanticist landscape painter J. M. W. Turner and it was first exhibited in 1812. Both painting features two military leaders, each from a different period of time, who is crossing the Alps. Turner’s painting is a romanticist painting because it deals with showing the sublimity of nature. For example, the curving black storm cloud that dominates the sky, which hanged to swoop down on the soldiers in the valley below. Among the black clouds, an orange-yellow sun is attempting to break through and a white avalanche can be seen coming down from the mountain on the right. The nature is being depicted to be an all-powerful and dangerous main character. The painting depicts the struggle of Hannibal and his army to cross the Maritime Alps, also worth noting that Hannibal and his army are not the focus of painting, rather the black storm cloud and avalanche is. If anything, Hannibal himself is not clearly depicted, but he is spotted riding the elephant, which was dwarfed by the storm and the landscape, just visible in the distance. In the foreground, Hannibal's rearguard is fighting local tribesmen. The brushstroke, like many other