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 …show more content…
Depicting a very real emotion on his statue, rather than the stoic deadpan of the classical Rome, Donatello reflects the movement of humanism that swept through Florence in the 15th-century (Lecture 4). However, the most significant part of this piece in regards to Madonna of the Clouds is the relief underneath the statue, Saint George and the Dragon. While George, the dragon, and the picture protrude defiantly from their background, there is subtle, painterly carving providing context to the battle scene. Donatello applies atmospheric perspective, using incised lines, to not only complete the story, but emphasize his characters (Gardner). By having Mary’s head protrude out more so than other features of the relief, the accentuating effect is the same. Meanwhile in Luca della Robbia’s Virgin and child with lilies, della Robbia used colored glaze on terracotta, combining two-dimensional and three-dimensional art on one relief. The Madonna holds Christ lovingly again, while he reaches for lilies. The angels are farther removed from the scene, as implied by their smaller size and the shadowy mist evoked with blue
OUR LADY MARY OF ZION: AFRICAN DEPICTIONS OF THE CHRISTIAN MOTHER OF GOD Rachel Heiderscheidt 11 December 2015 ART 311 Riep The Catholic cult of the Virgin has spread its influence throughout the world over the centuries. In this paper, I will compare Marian imagery from three different African cultures: ancient Egypt, Ethiopia, and the Kongo people in the Democratic Republic of the Congo to a typical example of Western Marian iconography in order to explore the ways in which each culture has taken existing icon types and expanded upon them, bringing their own unique cultural identity to the table. In this way, we can see not only the unique stylistic elements of each culture, but the depth of devotion the figure of Mary, and mother
4) is another outstanding example of Raphael’s Roman portraits. At the centre of this harmonious composition Raphael adds a curious psychological note in the melancholy eyes that illuminate the cardinal’s pallid and exhausted countenance. The portrait has been drawn in accordance with Leonardo’s opinion that portraits can be drawn best with a dark background. A reference to dark backgrounds may remind the reader of Raphael’s Florentine period under the influence of Leonardo when he produced “Granduca Madonna” (fig. 5), the masterpiece where he was able to draw exquisite rhythmical modulations out of the motionless simplicity of the design. Giorgio Vasari noted that Raphael excelled in creating effects of drapery folds disappearing into shadows and coming forward into light, and that he knew how to relate the colours of drapery to the flesh tones so that semi-nude figures did not seem cut into two.
Although some may argue that the direct contrast of light in the mirror itself displays the vanity of the subject, I argue that the contrast of the light skinned model and heavenly clouds with the gilded mirror imply a godliness of judgement in a human activity — reflection. Created by the interaction of lines, pastel colors, and similar organic ovals, the focus of the painting is on the gaze of the model who carefully looks inward and suggests that the viewer utilize the painting as a mirror of self
Madonna del Magnificat was created by Botticelli in the early 1480s. It is said to be one of the most famous paintings of the Madonna during his time because of the five contemporary replicas which were created. The painting was covered with gold paint and if you see it in person the figures appear to be life size. The virgin which is slightly almost at the center of the painting is crowned by two angels and is depicted as the queen of heaven. Two wingless angels are crowning her.
Artwork is a form of self-expression from an artist based on life experience, or on something that the artist feels strongly about (Berenson, 87). The product of art can help others with similar experiences but not able to express the same feeling themselves. From the product of art, people can start drawing excitement, purpose as well as encouragement about the real thing being expressed. Through a piece of art, the artist can communicate a purpose, an emotion or an idea in their work. In this research paper, I compare two pieces of artwork; Madonna and child with the saints by Giovanni Bellini and Madonna and child with the two angels done by Fra Filippo Lippi.
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
Leonardo Da Vinci: A close up of a man like us Alice Bonetti Book summary: Leonardo Da Vinci, The Flights of the Mind by Charles Nicholl Painting analysis: Virgin with the Child and Saint Anne by Leonardo da Vinci Art, Literature and Religion of Europe (F0VL7a) KULeuven, 2014-2015 Professor Hedwig Schwall What is fair in men passes and does not last. (Da Vinci Notebooks 257) In this essay I’ll convey and discuss the biography of the Italian genius Leonardo Da Vinci, basing myself on the bestselling biography Leonardo Da Vinci, The Flights of the Mind by Charles Nicholl. After briefly summarizing the genius’ biography, I’ll focus my attention on the painting Virgin with the Child and Saint Anne, from which I will take the cue for analyzing the painter’s particular relationship with the key figure of the mother and the woman in a more broad-spectrum.
Cimabue and Giotto were both very well known artists that both painted the Virgin and Child Enthroned. They both have the same meaning and the same subject. The Virgin and Child Enthroned have Madonna and Christ and it had the angels and the prophets. Comparing both of the artworks, they both have a different style. Cimabue and Giotto painting have a great symbolism behind their paintings and what it means for them.
Rough edges are softened; sfumato-like, the blemishes that might appear on the Madonna’s face – indeed, on the face of the Renaissance itself – vanish as if in a haze of blue smoke. This short essay is a modest attempt at a clearer vision -- to ask the question: will a more critical assessment of the period provide a better understanding of the era’s great achievements and even
Christina Rossetti The sister of Dante Gabriel Rossetti, one of the founders of the Pre-Raphaelite Brotherhood, Christina Rossetti’s work was influenced by the doctrines of this artistic movement. Her poetry is simple in rhyme scheme and choice of words, conveying the meaning of her poems to the reader with much clarity. The aforementioned characteristics of her poem do not take away from the vibrancy of her descriptions, as she used symbolism to help her paint vivid images in the minds of her audience. Adding to that, she was a devout Christian, and so her poems take on a highly religious, spiritual, and emotional theme, removed from material wealth and earthly possessions.
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.
Although translucent, there is a ribbon that goes across her the top of her dress and behind her head. If looked at closely, there is a very faint gold halo that surrounds her head. In her left hand, she holds baby Christ. With his left arm he embraces in front Mary’s neck and the right arm is behind her neck on her back.
He uses selective light —light restricted not only in the sense of sharpness, but one that seeks out compositionally and iconographically significant forms and ignores the rest. As the light in Cecilia Gallerani illuminates the ermine and the tilted head of Cecilia most directly, it also plays an important symbolic role.16 The importance of the ermine is supported by all three interpretations of its symbolic
Although Leonardo would hold in high regard the sense of unity, atmospheric perspective, and features that suggest studies from nature, he would have disliked how easily recognizable that the Canigiani Holy Family panel painting by Raphael is religious. There are putti floating on clouds at the top corners. In addition, very faint halos hover above the heads of Elizabeth, infant John the Baptist, Joseph, Mary, and infant Jesus, which provide evidence that these figures are holy. Leonardo da Vinci’s art, however, does not possess any of these overt religious elements. An example would be his Madonna on the Rocks.
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.