Compare And Contrast Mary Magdalene And St. Peter Of Verona

This particular statuette represents the Virgin Mary and her child (Barbier). It is sculpted with gilded silver and has basse-taille reliefs on the pedestal, embellished with various stones and pearls. The statuette is approximately 2 feet tall and the Virgin is standing on a rectangular pedestal that rests on four small lions (Kleiner). The

Many ages of art shine through Duccio’s portraying of Mary in Madonna Enthroned (fig. 6). Both being trained in the Greek manner, Duccio’s version of Siena’s patron saint is comparable to Cimabue’s Enthroned Madonna and Child with Angels and Prophets from the year 1280 2 (fig. 7). Duccio, however, took a softer

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

A Comparison of Barna di Siena’s Mystic Marriage of Saint Catherine and Rogier van der Weyden’s Saint Luke Drawing the Virgin and Child

Stylistic concern is not the only argument that objects the painting’s attribution to Raphael, but also the inferior quality in the rendition of Mary and Christ. Observations of Beck suggest that Mary’s hair looks confusing and unsolved , while the underdrawing revealed by IR investigation shows a clearer representation of the braids that possibly the painter-in-question became more “exclusive on this own during the painting stage that he dropped the refinement of her hair” stemming from mimicking Raphael’s painting when drafting. Furthermore, the current depiction conveys a sense of obfuscation in posing of Mary’s right thigh compared to Small Cowper Madonna (fig. 2) or the Bridgewater Madonna (fig.4), with statically drawn Infant balancing difficultly on the invisible leg of Mary . It is inexplicable that the engravings (fig. 6 and 7) after the painting look more convincing that they have complemented the unnaturalness of the original.

In this artwork attributed to Luca della Robbia made in 1460-70, Virgin and Child with lilies depicts Mary as the mother of God, instead of the queen in heaven, and emphasized the maternal

The Holy Virgin Mary was created by Chris Ofili in 1996. It is a mixed media painting, including paper collage, oil paint, glitter, polyester resin, map pins and elephant dung on linen with the size of 243.8 cm X 182.9 cm. The artwork portrays Mary, a black virgin, wearing a blue cape covers from her head down to her body. The cape wraps around her body, leaving an open space that reveals her right breast that was actually a dried lump of elephant dung. The woman was positioned standing in the center on a yellow-orange background with swirly lines that created a little detail in the background.

In the stories of “Mary Queen of Scots” and “Elizabeth I”, it is known that Mary and Elizabeth I are two different people, but also the similar in some ways. Both Elizabeth and Mary lived within the same time period and were even related, although their lives ended up completely different. Elizabeth was a well-respected queen with an interesting personal life. Mary on the other hand was convicted of aiding a homicide and had many problems in her personal life. Therefore, Elizabeth and Mary both had some similarities and differences between their early lives and their personal lives.

Although the surface of the artwork has been fairly damaged by smoke from burning candles and incense, there is still a suggestion of the bright circular halos which had once ‘crowned’ both the Virgin and the child. Cooper relates the symbolism of the circle as “one which expresses archetypal wholeness and totality and therefore divinity” (1982:19). The upper body of Mary appears very large, especially in comparison with the Christ-child, whose body ‘fits’ into her bosom, which is generally associated with comfort. Almost as though she tries to console him concerning his future death (Tansey & Kleiner, 1996: 312).

The piece of art is a statue that portrays Jesus’ body laying on his mother Mary’s laps at the time after the crucifixion having been removed from the cross (Lewis & Lewis, 2008) which is evidenced by the marks of small nails and the indication of the wound located in Jesus’ side. It revolves around the major theme of Northern origin which during that time was present in France but not in Italy. According to (St. Peters Basilica, 2009) Michelangelo offered a unique interpretation of the pieta to the models since it is a significant piece of work that balances the ideals of a new beginning incorporated in typical beauty and a touch of naturalism which is illustrated by the relationship exhibited by the figures. This is made possible by his skill to prove to both the viewers and himself of the supernatural beauty.

     The style and the form of these two paintings reflect the development of the artistic techniques during the Italian Renaissance. While both reflect a Biblical theme with a central focal point of the Madonna and Child, “Madonna Enthroned” has a key image that is best viewed from a central position and “Madonna and Child…” has a greater degree of importance over the majority of the surface of the canvas. In “Madonna and Child…” the viewer does not perceive that an image is being forced upon them as is found in the work by Giotto. A use of light and space is also key to preventing the Puligo piece from being “forced”, where the organization of distance visibly removes the viewer from “Madonna Enthroned” while drawing the viewer into the painting in “Madonna and Child…”. Color also serves a similar purpose, where Giotto’s work is monochromatic but ocher while Puligo’s work carries a greater expression through the detail involved.

The Lucca Madonna portrays Virgin Mary sitting on a throne feeding baby Jesus. Van Eyck's use of color truly draws the viewer to the painting. As soon as one sees the painting they as on looks upon the painting they are guided towards Mary and Jesus' bright skin then is soon drawn to the beautiful scarlet dress Mary is wearing. There seems to be little negative space in the paintings. The throne of which Mary sits on does not belong in the room. The only other items located in the room is the fruit on the window seal and the trinkets on the shelf.

It is a scene which is shown after Jesus was crucified, where his body has been removed from the cross and his friends and family mourn over his body. Many artists have focused this scene by just painting four people: the body of Christ, His mother, Saint Mary Magdalene and Joseph of Arimathea.

The artist, Robert Campin and his disciples, incorporated the patrons of this piece, on the left panel. The two figures pictured were the patron and his wife, which was supposed to connect the viewers with the piece and Christianity as well. The trend of making the artwork more realistic appears frequently, and artists did so through making the holy figures more humanly. Looking at earlier pieces created in the Middle Ages, the Virgin Mary, Saints, and other holy figures were depicted as on a higher, more heavenly level. Artists would elevate the feet, have them facing away from the viewer, and be depicted as highly stylized. However, as shown in The Annunciation Triptych, Campin and his workshop aspired for the viewers and the general public to feel more connected to their religion. Altarpieces were used commonly in early European’s homes, leading the artist to create a typical household scene in the second panel where Mary and the angel were pictured. Thus adding to the connection between the viewer and the Christian religion. Another altarpiece, the Isenheim Altarpiece, shares similar

From the title of this art piece, it tells us that this woman is posing as Jesus Christ; she is spreading her arm out like Jesus depicted in the iconic painting by Leonardo Da Vinci. Instead of Jesus being a man, Cox used herself, a woman, to represent Jesus. The fact that the Bible is based upon Jesus and his twelve disciples, which all are male, tells us that there is a patriarchal and sexist sense embedded within the