Madonna Of The Clouds Analysis

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 prophets in the painting of Giotto all the prophets were positioned different and all the angels and prophets are looking at Mary and Jesus and the prophets are all behind the angels. The angles and the prophets were facing towards Mary and Jesus that represents humbleness and respect to Mary because both Mary and Jesus are holy. Madonna has Jesus sitting down on her lap and it looks very natural the way Jesus is positioned. Cimabue painting of Jesus sitting down in Mary's lap he looks very stiff and is positioned straight. Both paintings are so wonderful and unique they are quite similar to each other but have a different tradition and culture value behind it and both having a different way of recreating the painting of the Virgin and Child

There are many differences that can be pointed out when evaluating the Maesta and the Sistine Ceiling. One of the main differences between these two paintings is that the Maesta establishes union through their religion that depicts the Virgin Mary as the central figure of their belief system, whereas the Sistine ceiling is a painting that is devoted to the catholic church with god as their drive in their religion. This difference is important because it shows how important religion was to both the Romans and Sienese. Both of these paintings depict a contrasting view on who they worshipped. The Maesta creates an image around the Virgin Mary as she was believed to be the most respectable person and powerful. In the Sistine Ceiling, we get to

Art has been around for millennium, but it starts to become more realistic as the Renaissance progresses. In Document A, a painting by Duccio di Buoninsegna is shown. This religious painting was probably painted in respect to the Madonna, but it is unclear. In terms of art, it isn’t a very good piece of work even though it has religious meaning. Duccio di Buoninsegna probably did

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.

Leonardo Da Vinci 's The Last supper is a popular work of art that is Da Vinci 's rendition of the last supper as told in the bible. This paper will include an in depth visual analysis of the painting as it appeared on the original canvas. The paper will also address the cultural and religious significance of this work of art in that time period. I chose to do the analysis on The Last Supper because it is an artwork that i have seen many times in my life, but oddly enough do not know a lot about. In this paper i plan to not only inform you , but inform myself on the many aspects of The Last Supper by Leonardo Da Vinci.

Venus and Mars is a c. 1485 Italian Renaissance oil painting, created by Florentine artist Sandro Botticelli. This painting depicts the meaning of love, exhibiting themes of traditional romanticism. It is understood that Botticelli’s Venus and Mars implies the message, love conquers war or perhaps that love conquers all. Mars, the god of war, was one of Venus, the goddess of Love’s many illicit lovers. Pictured, are both mythological Roman gods, in a tale of attraction, bravery, and an adulterous affair. This classical antiquity will be examined in detail, through visual observations of the three key elements: composition, style, and iconography.

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.

In the work Lucrezia Romana by Giovanni Pietro Rizzoli, otherwise known as Giampietrino, there stands a contorted woman with a dagger nearly piercing her own flesh as she waits to take her own life. The figure, Lucretia, is a character from the ancient Roman period who was said to have been raped by the son of the tyrannical ruler of Rome. The oil painting on wood was completed in 1540 in the city of Milan, in the midst of the High Renaissance period. While Giampietrino’s painting stands as a remarkable piece of artwork, it must be noted that a lot of the stylistic qualities he implements into the work are extremely similar to that of Leonardo Da Vinci’s. Given that Giampietrino was a student of Leonardo for over 30 years,

One-point linear perspective is used with God as the vanishing point. Your eyes cannot help but to follow the looks that ascend upwards. The chiaroscuro shows the darkness and shadows on the earth and gets lighter towards Heaven. The apostles are wearing complementary colors of red and green on their clothes. The clouds are fluffy and white with shadows of gray. The higher sky is a yellow-orange with hues of gold. The red, yellow, and orange shows the warmth in the painting. Whereas the paler blue sky at the bottom show a cooler temperature. The Assumption and Consecration of the Virgin is polychromatic with its variety of color. This painting is an example of iconography. It is widely understood by the Christian culture. Mary was an important figure in biblical times. She carried Jesus though she was a virgin. She was a faithful servant to God. The apostles followed Jesus who died for all sins. God is ruler and protector of all. He watches over all of mankind. Many people worship Him and appreciate pieces of art that play a role in religion. This is an aesthetically beautiful painting that had a big part in the Italian

As expressed in Document A, from Theodore Rabb’s Basic Books, The Last Days of the Renaissance & The March to Modernity, “The clearest evidence of the break with medieval culture comes from the visual arts”. The Middle Ages had an emphasis on religious figures and symbolism. The two images contained Document A included: Madonna Enthroned Between two Angels by Duccio di Buonisegna from the late 13th century as well as Mona Lisa by Leonardo da Vinci, from the early 16th century; upon further observation the conclusion can be made that not only was the art from the Middle Ages focused mostly on religious subject, but it also had two-dimensional lifeless figures and drab colors, as expressed in the painting. This great contrast is clear because the Renaissance painting is the complete opposite, possessing realistic figures which were true to form and three dimensional, vibrant landscapes, with a focus on the individual. As Rabb put it, “the new artistic styles would echo broader movements and interests of the new age.” The Renaissance art gave way to a shift and man no longer wanted to focus solely on religion but also how unique they were as

The Baroque period covers one hundred and fifty years from 1600 to 1750. Its characteristics tend to include, lavish, over the top, expensive and much more then necessary. The period is painted literally with architecture, paintings, clothing, food and much more that continuously begs people of today to ask ‘why?’. The use of frill and extravagance in art in this period has become less of a question of ‘why’ and more of a question ‘where is the extra?’, because this part in history is centered around adding extra ornamentation to everything. With such an over the top part in history, it would seem impossible to pick one piece that could embody every aspect of the Baroque Era but it is to be proven that one piece has such potential. Gian Lerenzo Bernini’s, The Ecstasy of Saint Teresa, sculpted in 1647 to 1652. The piece is of Saint Teresa being struck by an Angel’s

Florentine type of depiction spread widely due to the painting. Its popularity among the masses can be understood by the fact that the image has been used by most religious foundation in expression of Jesus and His mother Marry during the child’s tender age (Gelfand, 2000). It’s one of the most treasured paintings in the world. When compared to the Italian standards, the panel is said to be very minor, but its regard is extensively expressed with respect to many other paintings that are said to be, in the ancient times, the most regarded.

Much like the Olympians from ancient mythology, Renaissance artists are regarded as gods. They revolutionized the art world, reviving themes and styles derived from the Ancient Greeks and Romans. The style they created completely contrasted with that of its predecessor, International Gothic. But how did this “Rebirth” come about? There are many answers to this question, but much of it lies in patriotism and civic values, especially in sculpture. One of the best examples of this is in 15th century Florence, which was virtually the birthplace of the Renaissance. It is there that sculpture reached its culmination, as a result of pride in the city, its history, and its values.

Most of the pieces of art done on this topic usually have Mary and Jesus either surrounded by angels or saints who pay respect to them. It is an important figure in Catholicism as it reminds the believers about their faith. Both the two artworks were done during the Renaissance period with Madonna and child with the two angels being done around 1465 while Madonna and child with the saints being done around 1505. In making my comparison, I seek to compare the two pieces of work based on symbolism, the distinguishing features as well as the target audience.

In Jean-Honoré Fragonard’s Allegory of Prudence, the viewer is presented with a young woman who gazes at a mirror. The painting conveys a moment of prolonged reflection and self-evaluation that encourages the viewer to pause, if only briefly, and utilize a moment of reflection in art to turn the viewing inward upon the self. Prudence’s moment of prolonged reflection is created by line, compounded by the color and lighting of the painting, and reinforced by the interactions of shape that emphasizes focus on the mirror. The painting utilizes the interaction of line, color, and scale to display the subject’s moment of reflection, but also to question the fine line between self-reflection and vanity.