God and roses The rose was sacred to Aphrodite, the Greek goddess of love, and to her Roman equivalent, Venus. In another myth, Zeus scattered roses across the land as a wedding gift to Eros and Psyche. Flora was the goddess of spring and flowers. Despite being credited with creating the rose, other Greek deities helped Flora give it its life, sweet scent, and beautiful shape. Christians used the red rose as a symbol of Jesus passion, martyrdom, and resurrection, as well as for Marys’ motherhood and purity.
Botticelli's The Birth of Venus was created in 1482-1486. It is a tempera on canvas. Tempera on canvas is a type of painting which is painted on oil painitng cloth. Botticelli's The Birth of Venus is a horizontal painting, which scaled 5'8" x 9'1. Raphael's Galatea, on the other hand, was created in 1513.
Two wingless angels are crowning her. The crown she is wearing is made of cold and consist of stars. One of the mother of god 's name in hymns is " Stella mattutina ( morning star)" ( cite) which could be the reason why there are an array of stars onto the crown she is wearing. If you look out between Mary and the angels on the left you can see the broad landscape which is laid out to show "atmospheric perspective"( cite). There are 3 angels which moved more closely to the virgin and child.
The implied lines the curves of their bodies underneath their clothing, which are especially apparent in the figure of the young Polyxena, imply their full, three-dimensional, forms. The overlapping in the piece is realistic, as Blondel does not care to make sure that all the figures can are fully visible as they would be in a gothic piece. Instead, the third figure in the painting, the servant who is holding up Hecuba is almost totally obscured. This implementation of realistic overlapping allows Blondel to create depth in the shallow
The angel in the foreground gives the viewer a playful glance, seemingly on the verge of laughter. The delicate, lightweight fabric that surrounds Mary’s face is a decorative element that was new at the time. In the background you can see a distant city and mountains, with a bay to the left. Slightly closer, there are plains with scattered shrubbery. Some have theorized that the semblance of Madonna could be a portrait os Lippi’s wife, Lucrezia Buti.
The artist also creates an illusion of space by alternating the values in the mountains. The mountains that appear to be closer have bright green and brown values with detail; whereas, the mountains that appear further away have light brown and light blue values with less detail. This is also an example of atmospheric perspective because the further the mountains are the more they lack contrast, detail, and sharpness of focus because the air is not completely
Aylin Reta 88729977 ARTH 1306 Christ with the Symbols of the Passion Christ with the Symbols of the Passion is a work by Italian painter Lavinia Fontana, its medium is oil on panel and it was executed on 1576. In this piece we see, what seems to be, Christ after he was brought down from the cross. He is sitting at the center of the piece with multiple angels besides him. The color palette seems dark and obscure as well as the overall mood of the piece. He is surrounded by symbols that are significant to the process of His crucifixion such as the cross, the crown of thorns, a whip, and is also surrounded by three angels.
C. Song Liling as the Convincing Oriental Butterfly Gallimard meets Song Liling in a German ambassador’s house. At that time, Song is the opera diva performing Butterfly of Madama Butterfly on the stage. In fact, Gallimard is not into opera; however, Song’s performance, especially the death scene of Butterfly, has changed his idea to opera as well as Madama Butterfly. In Gallimard’s previous experiences, he has “always seen it played by huge women in so much bad makeup” (Hwang 16). Nonetheless, when Butterfly is played by the Oriental woman, it becomes convincing to Gallimard.
Venus of Laussel is a nude female figured artwork found in Maraquay, France. The Venus is decorated with color pigments possibly made from red ochre. (Visual-arts) The figure has pendulous breasts along with distorted hips and buttocks. Despite the amplified female body parts and unlike its precursors, the facial features weren’t margined boldly. This emphasis shows that the Venus wasn’t personified and was more like a symbol for the Paleolithic people.