The Virgin and Child with Saints Jerome and Francis by Pietro Perugino is an oil on wood painting depicting the Virgin Mary with Saints Jerome and Francis. This Early Renaissance altarpiece, dating from the years 1507-15, was commissioned from Perugino by Giovanni di Matteo Schiavone to be built in the church of Santa Maria de ' Servi, Perugia. The body’s of the six figures in the painting are in correct proportion and are very naturalistic. This is Stemming back to the Ancient Greek and Roman cultures that placed a high value on the faithful representation of the natural world and human body. Most notably, baby Jesus is seen very plump and with a child’s face; very different from earlier Italian art that featured him. Additionally adding to the naturalistic and humanistic feeling to the painting, Mary and the two Saints are seen in a contrapposto pose. Contrapposto is when the figures stand in a very natural and comfortable pose, the contrapposto in this painting stems back to the contrapposto seen during the classical antiquity. Thus, these figures have a sense of weight seen in how Mary and the Saints and putting most of their weight on one foot and how baby Jesus is weighing down the art of Mary. Chiaroscuro, the use of light and dark to create an illusion of form in space on a flat surface, is also used by the artist in this painting. In order to achieve this three-dimensional effect in the painting, the artist uses chiaroscuro in the drapery of Mary and the Saint’s
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.
An important aspect of this painting is its use of light. The top portion of the painting is very bright, with small angels and clouds. It implies a type of heaven watching over what is happening. Larger angels are carrying Saint Catherine upwards, and below her is cast in shadow. This represents her reward for her faith, which is kind treatment in the afterlife by the angels and God who she worships.
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.
This is said to be Leonardo Da Vinci’s first major work because it is the first large painting, painted by Leonardo 's hands. The story of this painting is that Mary is being visited by archangel Gabriel, in order to explain to her that she was " destined to be the mother of the son of god"( cite) . Gabriel is kneeling at the garden of Mary. There is a distance between both of them and she ironically receives the news while sitting at a reading desk. " The angel holds a lily in his left hand, a symbol of Mary 's purity, his right hand is raised in greeting.
Prior to the Renaissance, art was centered around religion and biblical figures, but as patrons began to become more common, the norm for art began to shift. “Madonna Enthroned Between Two Angels,” by Duccio di Buoninsegna, as shown in Document A, depicts Mary holding a baby Jesus. The unproportionate and dull colors of the painting
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 portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the
Madonna and child are amongst the most popular yet controversial topics in the Christian art. 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.
The use of the fresco technique when painting, usually produces a matte-like finish once it has dried, a trait that can be noted when analyzing Bondone’s painting, The Meeting of Joachim and Anna. On the other hand, Simone Martini’s painting, The Annunciation, shows the opposite finish of Bondone’s painting, because The Annunciation is considered to be very elegant, and includes a gold background, which enhances its brilliance. This is mainly because The Annunciation was painted in tempera and gold leaf on wooden panels, the opposite of a fresco painting. The use of tempera and gold leaf added immense sophistication and brilliance to Martini’s painting, something that Bondone’s painting was lacking. While Bondone’s painting has a matte finish which can be associated with the Florentine style of art, and Martini’s painting has more of an elegant finish,
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.
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 Calling of Saint Matthew” by Caravaggio was the Counter-Reformation movement. Light pours in above Christ’s head on the right and reveals stunning detail in the painting. Light glints of the coins on the table and the tax collector’s glasses. The expressions on the faces of the collectors are varied and convey recognizable emotion. In “The Art of Painting” by Vermeer, light shines in from the left and glints off the tiles, chairs, and the chandelier.
Although Mary’s hand and body itself take up an odd amount of room they help objects such as baby Jesus stand in the painting as well. This painting has a certain movement it creates the gesture of a baby pulling his mother closer to him has he lays his cheek on his mother. The shape used is that of a circular motion. Dieric Bouts create a sense of harmony and wholeness using the same color, skin tone between Mary and Jesus create harmony. You can tell the contrast between the two people Mary symbolizes royalty being the mother of Jesus which, is why she wears blue.
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 believed that, the integration of the musical harmonies would bring symbiosis to the optical space of the painting and to the one viewing the painting. Leonardo clearly understood how single point perspective could control how the viewer perceived his painting. He employed this technique to draw our attention to Christ’s face which is at the center of the composition. Likewise Christ’s gaze is directed to his left hand whereby he is reaching for the ‘bread’.