Summary
The Lamentation Arena chapel and Ognissanti Madonna are Giotto’s most outstanding masterpieces of all time. These works of arts portrays his style that is celebrated worldwide, especially among Christians. This style is expressed through use of elements such as line, colour and texture.
A formal analysis of these works of art gives an understanding of the role each of these elements plays in delivering Giotto’s intended theme. A formal analysis of an art entails an examination of its element and the principle of design. The elements are the building block that an artist uses to create a piece of art. These include aspects such as line, space, shape and form, texture and colour.
Giotto uses several elements such as colour, texture and line to convey a sombre mood to the viewers of Lamentation Arena Chapel. For instance, he uses green landscapes, blue skies, brown foliage and thunderous like clouds to portray what the characters feel. Such a mood cannot be achieved using silver outlines and regular gold skies.
Giotto also uses the same elements in Ognissanti Madonna. For instance, he uses a traditional golden background, seen in the angel’s halos and the lines along the thrones. This golden aspect makes the work of art to sparkle in royal, holy light. Besides, there are warm red and green colours that play a huge role in lightening and humanizing the otherwise ethereal and weighty work of art.
A formal analysis of these works of art reveals style that is consistent throughout his pieces of arts. For instance, his arts use figures that have real life. For instance, these figures had natural faces and experienced real emotions. Besides, he has given the characters real space to move about and given them real life poses. H...
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...picts flesh and facial expressions such as joy, awe and respect. Furthermore, the texture of the clothes reveals Giotto’s attention to detail. This is evident in the thick lush robes that fall between Madonna’s legs in a realistic manner. Besides, there is a loose folding that seems fill the real space.
Conclusion on Giotto’s Style
A striking aspect concerning the formal analysis of Lamentation arena and Ognissanti Madonna is Giotto’s use of figures that have real life. For instance, they had natural faces and experienced real emotions. Besides, he has given the characters real space to move about and given them real life poses. His use of colours also sets him apart from his contemporaries. This colour makes the characters full of life. He makes sure each person in the picture is there for a reason and each gesture is significant (Derbes, Sandona & Giotto, 2004).
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.
For the Formal Analysis Essay, the following artist and work of art to discuss is: Artemisia Gentileschi (Italian 1593-1653), Judith and Maidservant with the Head of the Holofernes, c. 1625, oil on canvas, approx. height: 72 1/2 x 55 3/4 inches. Detroit Institute of Arts. The following will mention the subject of the artwork, elements of design including: line, shape, and color. In addition, the principles of design will be discussed in termed of movement, emphasis, and balance.
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
Despite its non-Italian origins and because of its timing and specific achievements in the portrayal of the human form, emotions, and artistic balance, Jean Hey’s “Annunciation” can be considered a natural representative of the culmination of the transition from the learning process of the Early Renaissance to the perfect execution of the High Renaissance.
In conclusion, through the exploration with Malraux’s lens, as one of the painting themes made in Northern Renaissance, Italian in specific, around fifteenth century, The Lamentation with Saints and a Donor portrays a common subject of art caused by Christian influence, which narrates popular biblical stories, and made intentionally as either a story of the Christ or the patron him/herself through his/her fictionalized depiction with the Christ, while, contrasting to Malraux’s excerpt, the aesthetic values are equal as one of the aims in art with the realistic development throughout
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
To understand the connection devotees have to the cross, one must dissect the depicted scene, which is decorated, vibrant and also immediately catches the viewer’s eye to idealize the gruesome suffering that the artist believed Christ went through while on the cross. Religious iconography, like Monaco’s Crucifixion, serves as a way of symbolizing nobility, thus being identified as a way of venerating holy figures. The artist used tempera as a medium by mixing egg yolk with color pigments on a decorative quatrefoil panel that measures 57.3 x 28 centimeters with the frame and 51 x 23.3 centimeters counting the painted surface alone. The scene on the panel itself is an intense and realistic representation of Christ’s crucifixion and through meticulous detail and stark contrasts in color, helps draw focus to his painful death in an emotional way. At first glance, the viewer’s eye is instantly drawn to the center of this triangular composition, where the flaccid figure of Christ hangs crucified on a cross.... ...
...done. Giotto used tempera to paint this one. There are senses of desperation of the apostles, but it is not as compelling or moving as Leonardo’s. Giotto has bright colors, especially considering the era it was painted in. However, he doesn’t use landscape, there is no symmetry. When you look at it, you can tell who Christ is due to the golden halo around his head. However to decipher which one of the apostles is Judas, would be in vain. He used no symbolism, there is no depth. The background is done in a golden hue, not a natural life like version. The faces of the apostles do show a questioning gaze, but the diverse emotions are not there. Everyone is also sitting straight up around a table, there is no movement. I would have to say that while for its era this was a great painting, it is not a memorable one for me. Leonardo’s version is so much more.
In the thirteenth century much of the Italian art was influenced by the Byzantine art style from the great powerful empire. One of the greatest examples of Traditional Byzantine art style was Cimabue’s, Madonna Enthrone. The Madonna Enthrone was fluencies by the Byzantine style in use of patterns and unrelaxed body forms and faces. Depth was not important at the Byzantine art style, artist focus more on holy figures; making the long body and faces. This tells us, important figures are created to be a larger scale than less in the figure.
While Renaissance classicism called for restrained imagery, Grünewald showed viewers aggressive movement and unfiltered emotion. Christ’s face, for example, displays an anguish that not only looks like true suffering, but also is realistic enough to evoke this feeling. Likewise, the severity of his state is shown in his battered fingers and the torsion of his body as he buckles under the weight of the cross. Grünewald’s realism also extends to objects around Christ. The cross, for example, is unlike others we have seen in which two simple stakes are nailed together.
At first glance, both Cimabue’s Enthroned Madonna and Child and Giotto’s Ognissanti Madonna look nearly identical. Both paintings center around Madonna holding Christ as she sits on an elaborate throne. In both paintings, baby Christ is seated in the same position on her left knee blessing with his right hand while holding a scroll in his left hand (Adams). Both Cimabue and Giotto’s paintings have angels symmetrically arranged on both sides of Madonna and Christ. All of the individuals within both paintings are wearing halos. When I studied these two paintings in more depth, I noticed that the paintings differed in several small ways. First of all, besides all the gold in both paintings, the main colors in the Cimabue painting are red, purple,
To me, this painting shows a contrast of perfection and imperfection. It’s a naturalistic portrait, depicting a deep sense of emotion. The realism in the old man’s face grabs our concern in attempt to understand what is going on in the painting. I feel that the realism in the Old Man’s face conveys the deep emotions he feels towards the child. There is a great contrast between him and the child. The child seems to be represented as an almost angelic figure, a more idealized Renaissance creation. While the old man has a worn face, suggesting a long life. The man is wearing a reddish robe which suggests that he may be some sort of a noble figure. Ghirlandaio’s placement of the old man and the child horizontally definitely brought aid to giving an exaggerated existence of an emotional moment between the two. I also considered taking the child’s perspective, looking up at the old man’s bulbous nose, wrinkled face and large ears.
In the panel Presentation of the Virgin in the Temple by Giotto the scene shows Mary at three years old with her parents, Anna and Jaochim, at the temple to be consecrated to God. This painting can be found in the Arena Chapel in the horizontal series of panels devoted to the Life of Virgin Mary, and is placed on top of the Baptism of Christ and the Crucifixion of Christ. The panel shows Mary in the center, on the steps of the temple in a bright white robe with a crowd of people facing her. Anna, Jaochim, and Mary all have golden halos around their head to symbolize their holiness, a common motif in works of the time. The priest’s hand reaches out to Mary and Mary’s mother Anna, seems to be in unity with the priest because they are wearing
...ith the landscape that is blanketed in shadow and the darkness of the background. Past the main figure and onto the two figures walking, light is present indicating the sanity area of this painting. Through the use of shadows and hues of color, the essence of the figure’s emotions is shown.
The fundamental philosophical problem which rose out of human interest in beauty of creation and appreciation was a problem of aesthetics, which is not a recent invention of human assumption .Aesthetic examines the indefinable realm of imagination and feeling, made none the stronger by the light thrown upon it, by those who live in the world of feeling and articulates through vision and imagination of the artists who deals with the problems of integrities with those of moral deed. The art work by artists are created out of the urge of their creativity and imagination , which cannot be analyzed what they exactly created .An artist can hardly create the actual steps of his creation and deal