Virgin and Child in a Landscape was painted during 1492 to 1498 by possibly the Master of the Madonna Grog or Aert van den Bossche, formerly Master of the Embroidered Foliage, and likely be executed by the group of artist in his workshop. The dimensions of this painting is a 41.25 in. tall by 34.25 in. wide. It is oil painting on a wooden panel. This painting serves as an altarpiece, and portrayed the Virgin holding Christ in her arm sitting in a garden.
This painting shows how a workshop led by a master used different elements cooperatively to create painting helping the church to preach Christianity, by bring the divined theme closer to Bourgeois class worshipers’ everyday life. The increasing demand of artwork from the Bourgeois class encouraged
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The artists of the Embroidered Foliage paid much attention to the lines, and made them rigorous, claim, and ordered. The hair of both the Virgin and the Child is made up of carefully drawn lines, perfectly perpendicular to each other like piano strains. Make them unearthly beautiful. The lines portraying the Virgin and the Child are also claim and ordered. The hair of the Virgin softly covers her shoulder, slightly bend as she rotates her head to look at her child. The cloth on her body create natural drapery as it laying on her body. The folding lines are soft and round, without sharp edges. Those lines shows that she was sitting peacefully with her child. Other …show more content…
Christ’s smaller triangular along with his determined looking into the distance, on the contrary, creates sense of dignity, evoking awe. The bigger and smaller triangular together, shows that the Virgin and the Christ are both human and divined.
The rectangular appear as the patters of the bricks on the buildings and the small wall surrounding the Virgin, adding more real life details. The rectangular also follows the orthogonal, leading to a vanishing point behind the chest of the Virgin. Dot is another dominant pattern. Instead of using perspective to create a sense of volume for the trees, the arises painted layers upon layers of dots with different color from dark to light green to golden.
They together provide mess and volume to the structures and the trees, as well as creates perspective to the picture, making the painting more realistic and three-dimensional. A more realistic painting was more popular among the Bourgeois, since it is closer to their live. It
The house is surrounded by green grass which makes the image more realistic and the trees in the background and the tree in the foreground create a sense of depth. The image is quite well spaced out, due to a vast amount of area situated between objects. There is a visual equality in the symmetrical image. There is a contrast between the colours of the image to draw attention to the house. The image looks to be taken in the dusk of the afternoon, where there is not much natural light, which creates a darker tone. The main emphasis of the image is the house, which seems to be quite different when the image is first seen by a viewer. The texture helps emphasize the main focal point seeing though it is quite smooth, the colour also creates a mood towards the image and atmosphere in the image. The line helps develop structure due to the tone being a medium darkness. In some places (the area surrounding the house) is a degree lighter and shadows are present to help form the line throughout this part of the
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
This is a beautiful painting of a women and young relaxing outdoors. It appears to be a French countryside as you can see on the right side of the painting endless trees and grass with mountains in the back ground. The mother and child are sitting near a pond. The body position is casual and they are also facing each other. They appear to be communicating with their eyes. The child reminds me of an angel or cherub.
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...
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
The painting is intimate, almost as if was not meant for the eyes of the viewer. The mother gently holds the baby, within her arms, as she feeds him. The mother’s gaze is met by the child as it reaches out to touch her face. The background is simple, emphasizing the closeness between the mother and child, much like Le Brun’s piece. Additionally, Cassatt’s The Child's Bath, 1893 “with its striking and unorthodox composition, is one of Cassatt’s masterworks” (“The Child's Bath”). Within this composition, she employed the use of unconventional devices such as cropped forms, bold patterns and outlines, and a flattened perspective (“The Child's Bath”). Cassatt utilizes a pastel-like color scheme, exemplifying the delicateness and tenderness between the mother and her bathing child. Her brush strokes are swift and gentle, again, suggesting the passionate, yet soft, love the mother has for her child. The elevated vantage point invites the viewer to observe this intimate moment, but not to
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)
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
Even though, at first glance, Dali’s painting seems random, everything has a general connection. Even the centered images are physically connected. The other objects are connected by dullness and size to better emphasize the depth and perspective in order to make the viewer think about the painting and its individual prospects.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
Often, the frame of a painting is an afterthought. In traditional works it is always the case that the painting solely included all the details that the artist wanted the viewer to look at and analyze. However, Ernst recognizes the frame, not as something to hold the piece, but as an aide and essential part of the work to connect with the viewers. Ernst creates a piece that captivates and draws the audience by expanding his paint and materials from out the restrictions of the board to the frame of the piece. The sky Ernst paints expands from that of the canvas to the first bar of wooden frame surrounding the board. As a result, Ernst is already blurring the division of the painting and the frame, the object that separates the viewers from the piece. As a result of doing this, the painting and frame becomes perceived as a whole element, the frame is not a decorative border to hold the painting anymore. Furthermore, the design of lines from different planes of the frame, create perspective that looks as if it's a tunnel vacuuming the viewer and prompting them to step inside the piece. The decision of making the architectural or structural pieces three dimensional is fascinating. The dimensional objects already contain physical depth, choosing to paint these objects red, an advancing color, and placing it on top of a cool blue, a receding color heightens the
The work is of small to moderate size, about 50.1 x 68.8 cm , which asks for intimate interaction with the painting than if the work were larger. The details from the work, in combination with how close a viewer must get to see the details, enriches their understanding of the scene – from the minuscule details in the paintings and tiny sculptures of the background, to the detail of each individual tile of the mosaic floor. For instance, the attention to detail the artist has placed on the setting alone, including the shop floor, the opening to the outside world in the top right, and the collection of sculptures in the background altogether create a painting of richness, allowing the eye to explore all the objects and from that wonder more about the narrative of the story as associations develop. What associations are made is less important than the fact that associations can be made because of how the image is
Art is important to religion in many different ways. Perhaps none has analyzed how art and religion have influenced and affected each other through the ages. Pictures painted of past events that help to bring back the feeling and importance of the past have been forgotten by some. To the one’s that haven’t forgotten are able to see the event’s as the bible says they happened. Not only can you see the events, but it also allows the younger students of the church to understand the events. The use of images of God became widespread after the second century. This religious art has defiantly been around for centuries and plays an important role to the history of religion as well as the future.
For my response, I chose the group of images by Hiroshige and Vincent van Gogh entitled “Plum Park in Kameido” and “Orchard in Blossom”. When looking at both images there is a series of lines ranging from the tree trunks, to the limbs and twigs of the tree. I would say that the only implied line in the images is the way the trees are stretched up to the sky. In Vincent’s image there could also be an implied line when looking at the way the rakes are pointed upwards. On the other hand, I did not find any specific shape in the pictures other than the way the trees are formed and the blank space between the trees. When critiquing both images, I noticed that both artists created very thin/ normal size trees which took up the majority of the space available. The color scheme of Hiroshige’s image was mainly dull due to the dark red merging into the dark shades of green, gray, and black. However, Van Gogh’s image was slightly lighter due to the introduction of yellows, greens, and blues. I feel that both of the images showcase some hit of pattern in the way