Cimabue and Giotto painting have a great symbolism behind their paintings and what it means for them. Comparing both of the paintings, Cimabue is the first Italian painter that created the Renaissance style of the Virgin and Child Enthroned in Florence, Italy in 1280 which was twelve feet tall and was created with a wood panel and gold. The gold was flattened and glued down onto the painting. The gold that was all over the painting
Michelangelo Merisi da Caravaggio, who was a famous artist in Baroque period. His life just liked his artworks which were full of dramatic and mysterious. The life of Caravaggio can be divided into 3 periods – the early life and training period 1571-1592, Rome period 1592-1600 and the late period 1600-1610. In this essay, I would like to discuss about the late period (1600-1610) on Caravaggio through his artworks by the elements of light and violence, and the influence to the art world. The early life of Caravaggio was quite pitiful.
Artemisia Gentileschi’s Judith Artemisia Gentileschi is the most well known Baroque female artist during her era. Her father, Orazio Gentileschi, is also a well know artist and because her father is an artist she is able to have access to early training. Through her father, she is able to meet numerous artists that will help inspire her art works. Caravaggio is one of the artist who mostly inspires her painting techniques the most. Artemisia Gentileschi’s painting of Judith and Holofernes is a reflection of her life.
It is believed that it was commissioned by the nobleman Ciricio Mattei, while Caravaggio was living at his home. The subjects of this painting are three man around a table during supper time while the innkeeper is standing next to them. The use of light emphasis on the man with long hair, dressed in red with the white cloth on his right shoulder. He is sitting between the two men. They are sat opposite each other, on either of his side and gazing at him in an awe.
The Baroque artist, Gentileschi, painted “Judith Slays Holofernes,” after she was raped and her attacker was pardoned. Instead, the Italian government tortured her for “lying”. The painting is a reference to the biblical story of Judith, a widow from Syria, who takes it upon herself to kill the army general who seized her town. This painting reveals the themes of anger and revenge through the artist and the composition itself. Gentileschi was alive during a time where women’s opinions could not be voiced, so she voiced her anger and frustration through her composition.
A marvellous painter with a powerful mind and talented hands, got his work and intelligence greatly admired by his contemporaries in life. Arcimboldo was a strange case, of an artist who was not famous himself, but his paintings were famous. He spent 25 years working for the Habsburg court and became known there for his designs of costumes, art, events and entertainments, but especially for the composite heads. These paintings were a sort of entertainment for the public, to amuse the viewer. Soon forgotten after his death, Arcimboldo’s precious legacy was rediscovered around 1930 when included in a New York’s Museum of the Modern Art exhibition called Fantastic Art, Dada, Surrealism.
Although uncommon at the time, Gentileschi trained in painting and became a sensation in the craft. In addition, Gentileschi painted several artworks for her father and sold some of her own works. (Cohen, 49). Her style compares to Caravaggio’s dramatic, strong lighting (tenebrism), and realistic style. However, Gentileschi’s artistry is not as well-known as Caravaggio’s but rather her rape is more known in popular memory.
They had to overcome the obstacles not only as a woman but also as a member of the society. According to the Book of Judith, Judith is a widow for three years and four months who lived in Bethulia, Israel. She only wears sack cloth and lives in “a little shelter on the roof of her house a little shelter on the roof of her house (Judith 8:2-5). The book also mentions that the invasion of the Assyrian army disturbs the life of Judith; Assyrian army blocks and surrounds Bethulia for thirty-four days in order to desiccate the reservoir of Bethulia, and Bethulia’s citizens became dehydrated and “no one had any strength left” (Judith
Giovanni Bellini was an Italian hand to sway the tide of artistic history. When viewing famous works of art, Bellini’s tend to make an appearance quite frequently. He came from a family of painters (theory says he worked with his father and a brother to get started with painting), even using his fathers style (late gothic graceful) of painting, as inspiration for his own works. His father introduced Giovanni to wood panel paintings, which later became a great asset to Giovanni’s career. Gentile was Giovanni’s brother, it seems as though birthdays for the two are unknown, many people argue about Giovanni’s birthday, and so his true age false unanswered.
While both writers engage with the painting each does so in a very different manner. Breton publishes his poem ‘The Poetess’ in 1959., as part of his series of ekphrastic poems Constellations written in response to Miró’s collection of the same name. The poem is representative of the darkness and uproar of the time of the painting’s creation, as it takes place ‘amid detonations of matchlocks’ (1). The poem takes from Breton’s oeuvre as the founder of the surrealist movement, with surreal images such as the poetess as ‘the Beautiful Ropemaker of our time’ (1). Although the poem carries