Comparing Romano's Virgin And Child

Through art, man started to change their view on themselves. Paintings during The Middle Ages focused a lot on God and religious views, but not a lot on man itself. During The Renaissance, however, paintings shifted to being much more realistic with humanistic features. Berlinghiero’s Madonna and Child from 1228 shows a woman holding a small child (Doc. A). There are a few facial and body features added such as on the nose and the hands. It shows Mary holding her child, showing that he is “the way to salvation” (Doc. A).

Once gracing the lavish floor of Getty Center, the Coronation of the Virgin which was painted by the extraordinary Italian artist Gentile da Fabriano in 1420, attracted many attentions by its sacredness, powerfulness and magic of the Christ. At 36 ⅝ inches and 25 ¼ inches size tempera, Christ gently places the ornate gold grown upon Virgin Mary's slightly bowed head by the watching of angels from either side as she becomes the Queen of Heaven. Since the first century, Christianity has played an important role in Western Art, which has inspired numerous artists in making their masterpieces. However, artists must follow the religious ‘rules to build up the imagery of the Christ, and educate audience about the religious. Coronation of the Virgin by Fabriano is a perfect presentation of that.

This essay aims to investigate two different time periods in the history of art. It will scrutinize the influence that the respective societal contexts had on the different artists, which in turn, caused them to arrange the formal elements in a specific way. I will be examining an Egyptian sculpture of the god Isis nursing Horus, her son, as well as the Vladimir Virgin icon, which dates from the Byzantine era. Experts vary on the precise ‘lifetime’ of the Ancient Egyptian civilization, but according to Mason (2007:10) it existed from 3100 BCE up to 30 BCE. The Byzantine era, which

The first piece of art that should be included in the Seven Characteristics of Renaissance Art exhibit is Madonna and Child with a Pomegranate by Leonardo Da Vinci. This painting showcases Madonna, who is Mary the mother of Jesus. She has baby Jesus on her lap. Baby Jesus is holding a pomegranate, which symbolizes spirituality in many stories in the bible, as well as hope and eternal life. Firstly, this piece shows realism and expression. The woman and the child in the picture have real human qualities. The Madonna looks like what an everyday woman would look like. The

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

Nanette Salomon, a very well known feminist writer, wrote the article, “Judging Artemisia: A Baroque Woman in Modern Art History.” The article opens up with a discussion about the 2001-2 exhibition of Orazio and Artemisia Gentileschi: Father and Daughter Painters in Baroque Italy. The author explains that three things are unusual here: the fact that two famous artists were presented at the same time, that they were related as father and daughter, and the fact that the woman was better known than the man. Her intent in this article is to look at the effects of this trope (figure of speech) in the past and in the present.

The painting, ‘Virgin and Child with Donor’, by Antoniazzo Romano, despite painting a similar scene, possesses several differences. The most notable difference is the fact that the work of art was crafted on an entirely different medium, which was the ‘Tempera and gold leaf on wood’, according to the museum’s description. The painting is similar to Rogier van der Weyden’s work in its depiction of the Virgin Mary with very soft, blended features. The facial expression of the Virgin Mary is also very like that of Rogier van der Weyden’s painting as well, conveying a sense of peace and

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

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

The painting "The Assumption of the Virgin" has a mannerism influence. Mannerism was a XVI century art style influenced by, and at the same time a reaction to, the harmonious ideals of the Italian High Renaissance. Mannerism is notable for its artificial ( as opposed to naturalistic ) qualities which favor compositional tension and instability rather than the balance and clarity of earlier Renaissance painting.

This period housed many depictions of the Virgin Mary, including Cimabue’s Enthroned Madonna and Child. Mary was seen as the perfect example of feminine virtue, showing chastity, piety, humility, and maternity. Images of the Madonna, or Mary, whether sculpture or painting, encouraged women to live up to her. Mary wasn’t the only woman that was looked up to in Renaissance art. Women could be portrayed as witches, saints, temptresses, or members of the working class, and their image would still be an encouragement to dress and behave properly. (Jacobs)

The Virgin and Child was created by Barnaba da Modena in 1360, and is deemed Gothic in style. It depicts The Virgin Mary holding a Child Christ in her arms, and rests undamaged to this day in Boston's Museum of Fine Arts. In terms of formal elements, it is 39.4 inches in height and 24.8 inches in width (100 x 63 cm), a religious painting executed by means of tempera on panel. The enduring framing edges might indicate that the painting was initially planned to be the central piece of a polyptych. A first impression is that of anachronism: its opulent golden background and the intricate striation outlines on the Madonna's mantle seem to indicate a much earlier conception, mainly Byzantine in nature. However, the Byzantine herring-bone pattern is clearly endowed with a more modern linear roundness.

Studies for a Nativity specifically helped him gain a better understanding of poses and gestures of the mother and her infant (Bambach 2002). These drawings are thought to have helped prepare him for the primary panel in his renowned altarpiece fully titled, The Virgin with the Infant Saint John the Baptist adoring the Christ Child accompanied by an Angel ('The Virgin of the Rocks'). Seen at lower right of the drawing are “geometric constructions which represent his attempts to work out the perspective within the composition, with respect to the spectator's vantage point” (Bambach). As mentioned earlier the ability to draw in a notebook was a privilege many artists past did not

Also the crisp outlines of the jewel-colored shapes created by their clothing as well as the continuity of folds and gestures, creates a rhythmic pattern crisscrossing the surface showing the element of design (Stubblebine). The imagery in Madonna and Child is displayed in how the artist expresses himself, and how the artwork communicates with the viewer. The artist expresses himself in that the work is symbolic. It is symbolic in that it depicts the sacred realm and the account of Mary and the Child it also emphasized the thirteenth century devotional practice on experiencing the sacred figures as real (Stokstad 259). In addition, the work was created within a structured stylistic context of devotional images and icons, and was not created as a personal expression. The Madonna and Child painting communicates with the viewer, in that the sense of human interaction convinces the viewer that the two figures exist in real space and time (Tomkins 3) and the intimate interaction between the Child and the Madonna evokes a human response from the viewer. Duccio explored the world of sentiment and empathetic emotional response with a lyricism and sensitivity to color. Some examples of this is the tender gesture of the Child, the distant glaze of the Virgin, yet deeply moving expression, the use of drapery folds to describe the forms of the

Adam and Eve and Virgin of the Rosary both have their roots set in religion. Adam and Eve is one of the oldest stories in the world. The Virgin of the Rosary depicts one of the icons of the Christian religion who beared the “savior of the world” Jesus Christ. Both pieces tell a story, different but connected. The bible connects these two pieces both stories of creation. Both represent the start of a new world of sorts.