Located in hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, competing for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Madonna with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative
Moreover, it is hard to tell whose hands are holding Jesus from the back. We can’t tell whose hand is holding the left arm of Jesus, for example. The characters in the back also look as if they are standing on a ground higher than the one on which virgin Mary is standing on. We can’t tell how they are standing that high behind them. It is also worth mentioning that this painting is very hard to decipher.
Perspective is considered one of the most important aspects of Renaissance art. Artists such as Masaccio, Leonardo Da Vinci and Raphael made the use of this device in many of their work. Thanks to Filippo Brunelleschi, who ‘invented’ and developed this technique called one point linear perspective. The intention of perspective in Renaissance art is to depict reality, reality being the ‘truth’. By simulating the three dimensional space on a flat surface, we in fact incorporate this element of realism into it.
During our tour at the Legion of Honor, we observed art starting from the early and High Renaissance. Next, we went to the Dutch Baroque period, British art, and ended at the impressionists. A most notable work of art from the tour was “The Annunciation” by Master of the Retable of the Reyes Católicos. This oil on wood panel painting was created in the late 1500s, during the High Renaissance period of the art historical cannon. It portrays the biblical event found in the Gospel of Luke in which the archangel Gabriel announces to Mary that she is pregnant with Jesus, the son of God.
On the 12th of September, I went to the De Young Museum where they had a showcase of a wide range of art pieces, such as paintings, sculptures, and ancient artifacts ranging from many the different time periods and cultures from around the world. However, the one particular artwork that caught my eye would have to be the 12x18” painting called the Migration. It was a painting about the movement of nearly two million African Americans out of the rural South to the cities of the North, Midwest, and West by an artist named Jacob Lawrence in the year 1947, which is located on the first floor of the museum.
One angle is also bearing the symbols of the crucifixion like the lance Christ was stabbed with and the crown of thorns. The top part of the painting as a very calming and gentle tone to it. Both panels show Jesus but they look like two different people. On the left he 's lifeless, has no clothes on and seems weak. The middle ground between heave and hell is small.
Even the woman’s frame and posture seem to follow the lines created by the railings of the viewing box. The railings are also implied lines, the first thing our eyes go to is the woman, and then we follow the railings to the man who has his gaze set on the woman. The man’s gaze gives us implied lines that lead us back to the main focus of the painting, the woman. The artist also uses light and dark to guide our eyes to the important parts of the artwork. Most of the artwork is dark, while the woman and the man looking at her are in the light.
The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity.
There is a lot of space and viewpoints that go around all areas of the painting. Another artist that recreated the painting was Cimabue. He recreated Virgin and Child Enthroned in 1305 through 1310, we see that there are many illusions and multiple viewpoints in the picture. Giotto painting of the Virgin and Child Enthroned was a very exaggerated when it comes to size. Mary is very massive and big, Mary's hips were very wide and Madonna looks very realistic compared to Cimabue painting.
The central panel of this painting shows the Virgin Mary and baby Jesus as being larger than the others surrounding them, the people around are looking up at Mary as with out up most respect . Also in the central panel, we get to see how much work, money and thought was put into the Virgin Mary. The Virgin Mary is painted with dark blue color which is considered to be very expensive at the time due to all the lapis that would have been essential to produce. Not only was Mary painted wearing
This concept helped pave the way for the Renaissance artist in the 15th century, such as Da Vinci and Michelangelo. He also designed great pieces of architecture, such as the Basilica of San Lorenzo and Ospedale Degli Innocenti. Filippo Brunelleschi reinvented linear perspective which had a huge impact on architectural drawings. It became a widespread concept at the time.
Linear perspective is an illusion given by two parallel lines to represent depth and perception. The further the two parallel lines are the closer they look. For example, when you are walking down a long hallway, the further you look the closer the parallel lines appear to be. It may even look as though they are touching. In The Music Lesson, linear perspective appears by the edge of the wall (left hand) where the two parallel lines seem closer because of the distance, the floor tiles, the square of the windows, and the two cast shadows of the mirror. On the other hand, there is no linear perspective in nature. And, because of that, linear perspective is not in the Yosemite Valley painting.
Egley was able to utilize depth in order to render a work that appeared smaller as the observer’s eye moved from the foreground to background. The lines in this painting point toward one single point system as Egley created a perspective work of art by scaling the figures. Even the colors help guides the eye