St. Jerome In The Wilderness Of Chalcis Analysis

Paolo de Matteis’s esteemed work The Adoration of the Shepherds is a large painting, depicting a classic Christian Nativity scene, that is displayed in the Dallas Museum of Art. In the piece, a dozen or so individuals surround the newborn Christ and his parents, gazing at him in admiration and paying him homage while animals look serenely on and angels assemble around the heads of the Holy Family. The artist employs several classic artistic elements in his painting, such as line, light, color, and shape, to draw the viewer’s focus directly to his intended point of emphasis, the infant Jesus.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

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

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

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

Upon walking into Gallery 250 of Boston's Museum of Fine Arts, one will find on the wall a particularly eye-catching piece of art. The piece, set high on the corner of the wall encompassed by pictures depicting scenes from the life of Jesus Christ, is Giulio Cesare Procaccini's The Scourging of Christ. In this piece, Procaccini's masterful use of light and shadows in a technique called chiaroscuro dramatically portray the torturing of Christ, and it is this very application of chiaroscuro that immediately caught my eye. Through his masterful rendition of value, Procaccini successfully evoked within me a crushing sensation of agony. While I did not initially realize that the piece was one of Christ, research enabled me to witness how

An in-depth study reveals mankind’s literal presentation of Mary to God for appraisal and judgment, rather than a simple depiction of her journey upward. The painting illustrates man’s—not God’s—physical act of lifting Mary up, creating a truly dynamic canvas. To do all of this, El Greco uses strong geometric divisions and hidden lines to take control of the viewer’s eyes, and sly manipulations of gravity and forces to create an image truly in motion. In the end, El Greco uses the painting’s overwhelming size and orientation to alter perspective and succeeds in tying the viewer’s fate into the scene itself.

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

Whereas Bellini used landscape style for his painting, Castiglione chose do his painting as a portrait, so that there is no doubt when looking at the image that St. Francis is in fact the main subject and focus of the painting. Aligned somewhat in the center of the canvas and taking up a majority of the entire painting is Saint Francis kneeling down on a rock as he grasps tightly and desperately to the crucifix as he looks up into the sky. A golden light in the sky above him creates almost a halo above his head and swept over his face is a look of pain and devotion. Unlike Bellini’s, Castiglione’s painting is neither filled with detail or landscape. Other than the close-up figure of St. Francis there is little else to be seen or focused on. The light that is cast upon the rope tied around the waist of his brown habit leads us to the only other details or objects in the entire scene. These include the green ivy climbing over the rock where he kneels, as well as a skull and open book that lie on the bottom left of the

It is a famous example of Renaissance art showing portraiture, realism, and some perspective. In this painting there are four distinct characters. Each has a different expression that shows how they are feeling. There is also more detail in the faces then in any other parts of the painting. Another technique it demonstrates is heightened realism. Whereas before the Renaissance the figures may have been painted simply and in only enough detail to get the general idea across, these figures are shown more realistically. Lastly there is the technique of perspective as shown in the background of the painting. The sea stretches out into the sky and the land in the background is shown how it would look if the viewer was actually

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

This extraordinary work by Carpaccio is a landmark in the history of devotional images. It is, in effect, a meditation on the them of Death and Resurrection. To the right, the Old Testament figure Job sits on a block inscribed in pseudo-Hebrew, while on the left, portrayed as a hermit, is Saint Jerome (ca. 347 -420), who wrote a commentary on the book of Job. Christ’s dead body is displayed on a broken throne, also inscribed in pseudo-Hebrew. A bird—symbol of the soul —flies upwards. The landscape, barren on the

In this paper, I will describe, compare, and contrast two paintings of the same name, The Annunciation by Gerard David and Joos van Cleve. Beginning with Joos van Cleve’s work, we see the virgin Mary kneeling down before an opened book. An illuminated dove with its wings spread is suspended above Mary. An angel is standing beside her, making a gesture. Both figures are inside an ornately decorated, well lit bedroom.

This paper will compare the themes found in the paintings "Madonna and Child with St. John the Baptist and an Angel" by Domenico di Bartolomeo Ubaldini (Puligo) and "Madonna Enthroned" by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare