Donatello, Fra Angelico And Filippino Lippi

At the beginning of the 2013 NFL season everybody around the league thought Miami Dolphins locker room was healthy and a good place to be. It was just like any other locker room in the NFL. On Monday, October 28, half way through the season, Jonathan Martin abruptly walked away from the Dolphins facilities. Martin then checked himself into a nearby hospital, where he requested psychological treatment. After a couple of days after the incident, reports came out saying that Martin left the team because of persistent bullying, harassment, and ridicule being done to him. The Dolphins then requested the NFL to investigate the incident. The investigation found that there were three Dolphins offensive lineman who were involved in the harassment of Martin. The biggest player in the incident was Richie Incognito.

In addition to, Italian Mannerism is a style of later Renaissance art, in which depicts a “self- conscious stylization involving caprice, complexity fantasy and polish (Kleiner ) .” Mannerism is the reaction to the features of the High Renaissance style. This style, can be seen as a rejection of classical themes of harmony and balance that are represented by Renaissance art pieces. Paintings in the mannerist style can be seen as an “exaggeration” or a parody of previous works, such as the Pieta executed by Michelangelo. Similar to other styles, Mannerism includes characteristics which make the style intricate. These characteristics include

“Our culture, our traditions, our languages are the foundations upon which we build our identity.” - Unknown. Bilingualism has many different interpretations and definitions and can cause problems in the community or unite it. The concept of bilingualism represents several different ideas, two writers, Martin Espada and Richard Rodriguez share in their essays their personal stories about being immersed into the English culture and learning the language. They share their views of what bilingualism means to them personally and make arguments about the importance of the concept. The two essayists bring awareness to the major role bilingualism plays in the communities today and highlight the effects of disagreements between cultural groups.

The Christ in Majesty with Symbols of the Four Evangelists uses an interesting technique in its apse, compared to previous Byzantine decorations in apses. It incorporates the technique of fresco painting, where artists painted pigments into the plaster and wood on the walls so the paint would become one with the walls similar to methods used in ancient Greece, compared to exercising mosaics as decorations in apses. The artist mostly employed primary pigments in the Christ in Majesty with Symbols of the Four Evangelists to make the figures stand out. A repetition occurs in the pigments with red, gold-like yellow, and blue with the occasional purple and the hair colors vary with tones of brown and grayish white.

Giannine Bellisario, the main character of Heir Apparent, finds herself in a virtual reality video game battling all odds to becoming queen. The game takes place in a medieval society, where Giannine finds that in order to win the game, she must charm people as well as face many challenges as the game progresses. Luckily, she encounters many people along her journey that help her.

Padre Antonio Vieira became a missionary priest and returned to Brazil in 1652, with very complex messages about slavery. His teachings could be interpreted as being against the Christian religion, but they raised a lot of questions about the slavery of the New World and whether or not the God's name was being used in vain. During his two sermons in Bahia and Sao Luis do Maranhao, he used his own beliefs of universal church to convert non-Christians to the faith. He uses the Bible, as his reference and his faith in God, as his guide to show that the settlers should treat the natives fairly and humanly. Vieira insisted on two main slaveries, that of the body and soul, and emphasizes that there is no forgiveness for selling your soul. Most

Art in the early Renaissance began with artists such as Giotto, who was credited with beginning a new style of art that Masaccio had taken up and integrated into his art later in the Renaissance. This specific style, being the use of massive figures, relation of background/landscapes to figures, and visual representation of perspective, was utilized by Masaccio in his frescoes in the Brancacci chapel. Masaccio’s Tribute Money is showing a biblical tale ,as the renaissance was not entirely anti religion, but with subjects that are being made to look realistic through a use of perspective (vanishing point, horizon line, etc,) and it is said that Masaccio's work was said to be “ living, natural, and real”. Artists such as Uccello took this style and adapted it to also make his art more realistic by using figures to show the laws of perspective, while others like Pollaiuolo

The great thing about art, is that there are multiple portrayals of one idea but, the artist’s own personal style allows one to feel something that another may not. Early Renaissance painters, Giotto di Bondone and Duccio di Buoninsegna established their own unique style to depict a biblical scene known as, The Betrayal of Christ. Through a close analysis of each artist’s representation of, The Betrayal of Christ, one is able to compare and contrast the artists own understanding of the scene through their attention to detail, character, and space throughout the painting. When examining these two works, one will have a stronger emotional response towards Giotto’s interpretation rather Duccio’s, due to his methods of handling organization, figures, and space.

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

Another change that occurred during the Italian Renaissance was the artistic perspective of this world. People were no longer painting two dimensional art, and non logical portraits. A new technique, chiaroscuros a technique that involved light and shadows, gave their paintings more depth and a realistic imagery. They also made their paintings more realistic by making the objects relative to one another. They emphasised emotions and belief in a universe full of harmony.

El Greco’s Lamentation of Christ is “a translation in paint of Michelangelo's late sculptured group of the Pietà in Florence Cathedral, at the time in Rome. The pattern and the feeling are the same. The figures of the Dead Christ, His Mother, Saint Mary Magdalene and Joseph of Arimathea make one compact group. Michelangelo achieved this by his new treatment of form; El Greco by paint, by employing broader, more continuous passages of color. The more vivid colors of Rome combine with the richer palette of Venice to convey the intensity of expression demanded by the subject. The horizontal composition of Venice, more suited to a narrative type of subject than to the single image, is given up and is only very rarely found appropriate in Spain. Michelangelo's Pietà group was not the only source on which El Greco drew: the arrangement of Christ's legs and his outspread arms, no less than the idea of viewing one of the two bearers of his body from the side and the other from behind, derive from Michelangelo's drawing for Vittoria Colonna, in which, as in El Greco's painting, the Virgin is placed behind and above Christ.” (Web Gallery of

With the continuous growth of paintings and artists, prestige for art increased dramatically to the point in which religious aspects were shown through landscapes, portraits, and temperas. This then allowed the creation of new styles and mathematical input that manifested everyday life with religious aspects. One such artist was Giovanni Bellini who introduced bright, rich, strong colors into his palette and landscapes that expressed the happiness, calmness, and prosperity that Italy carried throughout the Renaissance. These characteristics and styles of paintings subsequently became a popular Venetian cornerstone. Other important figures in the Italian Renaissance that demonstrated the movement?s ideas through their ingenious paintings and architectural methods were Pier Della Francesca and Leon Battista Alberti. Francesca, who was and expert in mathematics, developed the art form of perspective. Alberti, on the other hand, as an architect developed the pediment which became popular throughout the entire Renaissance. His monasteries and churches depicted many of the religious ideas, as evident in one of his famous works, the Santa Maria Novella. All in all, the use of the common religious themes such as the annunciation, adoration, Crucifixion, and the popular Madonna

Gorgeously. Striking. Grace. The golden painting is taking up by the two most iconic symbols of Christianity: Jesus Christ and Virgin Mary. Christ gently placing a golden grown on the inclined head of the Virgin Mary, who is sitting on the right side of Jesus; her hands crossed over her chest symbolist of humble, reverent and loyalty. This position was purposely set by Fabriano. In Christianity art, position is significant in dividing between good manners and malefactors. For instance, in The Last Judgment by Giotto di Bondone in 1305, heaven was placed on right of Christ, and hell was on the left. This ideology was clearly stated in the bible “...before him shall be gathered all nations:

The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost touching fingers while they try to reach for one another but seems like they would never join hands. The male figure of the archangel would carry a long feather like pen and it would bow down to the Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in authority because she is standing up and looking down at the Archangel. This creates tension in the painting while we question the social distinction between the two. Looking closely at the Virgin Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and tried to stay away from him. Looking on the left, the Archangel have white wings and there is green-yellowish light that surrounds him and the red clothing on him show that he is there for good news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is unable to accept the annunciation from the angel.

Francesco used a style that I really enjoy, it is called pittura di tocco and it is a style known for its small dotting in the art work and it's small but clean brush strokes. It's a style that not many artist can lock down it is very very advanced. He started in venice italy when he was passed down a shop from his father who was deceased and he worked alongside his brother to make and sell hand made paintings. His paintings are beautiful painting like the venetian capriccio which is a landscape painting of the molo towards santa Maria. He was born october 1712 and when his father passed away in the year 1716 and that's when he had the shop passed down to him, he was only 4 when the shop was handed down to him and his brother. He worked with