Virgin and Christ Child painting with St. Elizabeth, John the Baptist and two Angels is a painting by Rosso Fiorentino Giovanni Battista di Jacopo in Cinquecento, Italy. The painting is dated back in 1521. The painting is currently at Los Angeles County Museum of Art. The painting is made on an oil panel whose dimensions are 161.29 by 119.38 centimeters. The painting is available for public view at Ahmanson Building, third floor. Rosso Fiorentino painted asymmetrical and emotionally charged compositions. The painting is unfinished and its subject remains unknown.
At the right hand, the woman in blue is the Virgin holding the frightened Christ in her arms. At the left, John the Baptist is in what seems like troubled sleep and appears to be dead.
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Elizabeth, John the Baptist and Angels was painted in 1521. Placing the art in the context of Rosso’s career, the painting was made at an early stage of his career. The painting is typical of the paintings by Rosso. The images in the Descent from the Cross are very disturbing and provocative as is the case in the Virgin and Child with St. Elizabeth, John the Baptist and Angel. The images in both paintings are equally horrifying. They both have an indication of ironic presentation of human and traditional meaning that the themes in the painting bear. The two images depict a lot of despair and mockery and can equally be interpreted as denunciation of God and man. Rosso strived to attain a highly personal vision in his paintings throughout his career (Hamburgh, …show more content…
Rosso oftenly quarreled with his patrons and was at some point blacklisted by his fellow artists. Taking a close look at arts by Rosso questions about the boundaries between human and divine creation comes up, to what degree can either take place of the other and the artist’s godlike power to instill “dead things” with a sense of life in their artistic creations (Hamburgh, 1988). Mannerism received a lot of criticism and violated the artistic values of the Renaissance. Rosso received high regard from Vasari, a prominent historian, who described him as a “man of splendid presence with a gracious and serious manner of speaking, a good musician and with knowledge of philosophy.” Perceptions on Mannerism arts have fluctuated over the years and have received positive remarks recently. The desire by Rosso to shock and rebel against the accepted standards makes his arts stand out from the arts at his time. Rosso’s arts are indeed a beautiful sight to behold but violates the widely spread ideas in the
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
The Holy Trinity by Masaccio was a painting done in approximately 1428. It is a
Giovanni Pietro Rizzoli also known as Giampietrino spent the vast majority of his known career developing drawings and paintings of nude women from roman mythology under the leadership of the great Leonardo Da Vinci. Under the influential scope of Leonardo, Giampietrino replicated myriad artworks of leonardo’s displaying the importance of honoring the great artists of the late fifteenth and sixteenth centuries, especially those such as Leonardo who remain a significant figure in the discourse of the canon of art in contemporary art society. Although he developed his own techniques and manipulations to refine his own work and bring forth a change in the development of the renaissance and baroque style of art, Giampietrino closely followed the methods taught in the Lombard school of art and those of his mentor Leonardo Da Vinci. Giampietrino’s similar style of painting to Leonardo can cogently be seen in his painting Lucretia and a plethora of other paintings, which convey the influence of the Lombard school from the incorporated formal elements such as color, form, content, and subjec...
Jacopo del Sellaio’s Virgin, Child, and St. John is a characteristically iconographic tempera panel painting of Madonna, the Christ Child, and the infant St. John from the early renaissance, dating to the early 1480s. Sellaio was a Florentine painter under the apprenticeship of Sandro Botticelli, which reflects through his style and symbolism in the painting. In this work, he depicts a classically devotional scene filled with biblical symbolism. Sellaio’s Virgin, Child, and St. John expresses Mary’s loving role as Christ’s mother, the protective power and warmth of her maternal bond, and the significance of the birth of Christ.
During the late sixteenth century a new style of art, known as Mannerist, emerged through out Italy as a result of the Protestant Reformation. Mannerist distorted art was justified because it served mid way between the ideal, natural, symmetrical and the real, artificial, and unbalanced. The religious and political upheaval lead to the distinct Mannerist style know for being stylish, cultured, and elegant. Mannerist art is thought provoking, asking the viewer to ponder and respond to the spatial challenges and meaning found in the painting, sculpture, and architectural work. Mannerist painting and sculpture are characterized by complicated compositions, distorted figure styles, and complex allegorical interpretations. Meanwhile Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
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
The Renaissance in Western Europe brought a “rebirth” to the arts. No longer was the church the only accredited patron for the arts. Instead, a wealthy middle class arose as patrons and were able to purchase artist’s works. Although many pieces still had religious themes, the styles, freedom of creativity, and less reserved pieces were created. The Renaissance was not only confined to Italy, although it is often mistaken as the birthplace of the movement. All over Western Europe artwork flourished. Artists from the north came to Italy to study the classical arts and the renowned Italian Renaissance artists. Many of the same themes and subject matters were depicted throughout Western Europe. One such subject matter, the Annunciation, was portrayed by Jan van Eyck, a Flemish panel painter, as well as, Fra Angelico, an Italian fresco painter. In short, the Annunciation occurred when God sends the angel, Gabriel to deliver the message to Mary that she will give birth to his only son. Although both artists had the same understanding of the biblical account, their styles varied to agree with the concerns and interests of the people of the time as well as where they lived. They were able to establish their individuality through their artwork, even with the same subject matter. The Annunciation by Jan van Eyck is a perfect reflection of Northern Renaissance panel painting while Annunciation by Fra Angelico is the essence of Italian Renaissance fresco painting.
There are two artworks that I would like to compare and contrast in this research paper. The first artwork is “Abduction of the Sabine Women,” by Giovanni da Bologna, better known as Giambologna, in the Mannerism period. The second artwork is “Apollo and Daphne,” by Gian Lorenzo Bernini, and, this artwork was created in the Baroque period. The key connection that puts these two artworks side-by-side for me to compare and contrast is the idea of inviting viewer, not only as an audience, but, also, as a part of the artworks’ itself. “Abduction of the Sabine Women” and “Apollo and Daphne” are two sculptures that share the same vision of connecting art and its viewer based on how they are presented.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
2. Tomasso Portinari wanted this piece to be displayed in his family's chapel in Florence and was intended to be a representation of the writing of the birth of Jesus by St. Bridget (Stokstad, 2011). Portinari and his family are represented in the piece. Located on the side panels of the piece Portinari, his wife, and children can be seen kneeling beneath the depiction of Patron Saints. They are represented much smaller than the Saints, Mary and Joseph, and the shepherds. The family is instead similar to the size of the Angels. The artist, Hugo van der Goes, I feel is also represented in this painting through his style. Besides the subtle symbolic parts of the painting, like the flowers or jar decorated with grapes used to represent the blood of Christ, royalty, and purity, van der Goes painted the shepherds in an uncommon way for the period. This style may have been
One of Piero della Francesca’s well known paintings known as, Madonna and Child with Two Angels (Senigallia Madonna), is a piece that caught my eye while browsing The Metropolitan Museum of Art located on the Upper East side of Manhattan. This piece, created circa 1478 was done in Sansepolcro, Italy and was executed with oil paint on wood sized at 24 in. x 21 1/16 in.. Piero della Francesca’s biblical portrait of the Virgin, Christ, and angels is a central icon in the Catholic church specifically of the Renaissance (rebirth) in Italy. Throughout this piece, there is an underlying theme of the Virgin Mary’s son, Jesus Christ as he is intimately represented. It is an iconic scene that has been depicted by many different artists of the Renaissance but the way that Piero della Francesca represents his iconic piece differs in that it is more than a portrait, it is a scene of the Virgin Mary and her child being blessed.
Interestingly, he also refers to Donatello as a ‘craftsman’. The correlation between the artist or sculptor and craftsman is an important aspect in Italian Renaissance art. The craftsman was something more than just an artist. This person was talented and considered by others in Italian Renaissance society as exceptional or as Vasari’s title suggests, ‘the most excellent’. They were also tradespeople rather than just artists. This is because they created works for other people, which often meant they expressed other people’s ideas. Through an analysis of Vasari’s biography on Donatello, this essay will explore the importance of culture in Renaissance Italian society, an examination of Vasari’s biography of Donatello as a historical document and the ways in which Vasari portrays Donatello, which ultimately was significant for future Renaissance craftsmen. This paper will analyze the life of Donatello through Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects to show the importance of Donatello not only as an artist but also as a
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.
Rosetti’s age did not appreciate his art because they thought that the style Raphael established was the crowning of all paintings. This style was based on dark colours, artificial settings and a triangle composition. Rosetti wanted to free ...