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. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity. The lining in the skin makes the painting look more realistic and the lighting brings out the dimensions very well. The lining is overlapping which shows the movement in the painting. The triangle shape begins at the top of Mary’s head and down the back of Jesus contacting to the bottom of her hands and coming around her shoulder. Spacing is very important …show more content…
The painting has asymmetrical because the weight on each side is uneven. Mary is much bigger than baby Jesus. The dominate design in the painting would be Mary’s face. Mary’s face is key focus; it draws your attention to see what is next. But, Mary’s hands also take domination because in early painting Mary is barely holding on to Jesus, he is just floating above her lap, but in this painting you can tell the grip Mary has on Jesus. 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. Blue symbolizes royalty. Jesus symbolizes purity, which is why he has white on. White is the color of purity. Against Mary and Jesus’ pale skin the makes the color of their clothes pops. Art work has many different moods. The mood of this painting is nurturing and humble. The painting is more life like the any other portrait of Mary and Jesus because Jesus does not have a halo on his head and his
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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
Over in the middle of the painting, there is a more pronounced aperture looking over a waterway and rocks. The outline of the aperture makes up the shape of the face, the woman sitting down looking over the other way forms the mouth and nose of the face and the rocks at the distance form the eyes. All these objects clearly form the face of adolescence. Over on the right side there is a smaller aperture looking over the shore and what seems to be a woman on her knees. The figure of
The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with
Finally, a man’s portraits in the bottom right of the painting. This painting is supposed to represent the bible story, Noah’s Ark. There are four prominent art and design elements that were utilized in this painting: lines, shapes, light and value, and color. The first element is directional lines. Directional lines are used to guide the viewers eye to the main piece of the painting. In this case, the lines starting from the top right of the painting are directional.
He uses the shading to show the depth of the painting and how far back the room goes with the people all around the room within the painting. The doctor is at the center of the painting and besides the boy receiving surgery, he is the central focus. You can see the space within the painting as you move your eyesight from the background with the young men studying around the center stage that the doctor is in. His brush stokes are controlled and precise to preserve the realism and life like look. This painting is in excellent condition and is large measuring 8 feet x 6 feet 6 inches (243.8 x 198.1 cm).
Nancy Rourke, the painter of Deaf Culture: Unity of Global Signing, was born deaf and grew up in a world of oralism (Northen, Spindel). Oralism is when someone teaches a deaf person how to read lips and talk instead of teaching them to sign (Oralism). Rourke’s parents did not know she was deaf until she was about six years old but quit in 1986 to become a graphic designer. Twenty years later she was laid off and decided to begin painting again and took a couple of workshops to help prepare for the transition in her life. Her life transition did not begin until 2010 when she became involved in
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.
One angle is also bearing the symbols of the crucifixion like the lance Christ was stabbed with and the crown of thorns. The top part of the painting as a very calming and gentle tone to it. Both panels show Jesus but they look like two different people. On the left he 's lifeless, has no clothes on and seems weak. The middle ground between heave and hell is small.
Additionally, the use of copper adds to the holy iridescence of the painting and Virgin Mary as the way the sunlight reflects on copper gives it a luminescent shine that glows from beneath the paint. The painting is also bordered by a golden frame and has golden details throughout the painting, such as the golden sun rays radiating form Virgin Mary. The Virgin Mary is depicted wearing a golden crown and a robe studded with gold stars and bordered in gold. She is wearing a golden cross pendant and golden bracelets on both her hands. Enriquez’s utilization of the color gold gives the Virgin Mary a regal aura and establishes her importance by dressing her in one the world’s most coveted and reverenced metals.
Jesus and Blue Ivy are both cuddling their mother and a loving way. Blue isn’t hidden behind blankets and Jesus isn’t hidden by his halo. In both pictures present movement. Mary is being pulled close by Jesus and Blue Ivy is having her head rubbed by Beyonce. They both show a grip from the mother that resembles protection.
The painting was made as though you were seeing the moon through the telescope and then the painter added the Virgin Mary and decorative religious ornamental figures. During the Baroque period we can see thanks to the advances of science in creating the printing press there was a new way for artists to produce works of art. This new art style was called etching. Etching was the act of making prints (Thompson, n.d.).
The second famous image is the bloody portrayal of Jesus Christ on the cross with discolored flesh and weeping wounds which was meant to warn people that the world was coming towards the end. It also, however, gave hope to Christians because they believed that by Christ’s redemptive death on the cross, better things awaited those who experienced great suffering as Christ had endured. The third and last artistic representation was the pietà, in which Mary mourns over her crucified son. This representation encouraged Christians to identify their suffering and death with that of Christ