Little is known of Shang Xi's life at the capital, but his membership of the Guards - the sole fact available to describe his career - may have had some bearing on what he painted. Shang Xi held office as a Vice Commander in the Brocade Dress Guards {Jinyi wei). This was quite a normal appointment for court-approved painters in the early Ming, which did not sponsor a painting academy. Bostic 2 Bostic 2 This broad silk scroll is titled by its present curators a large painting (200 x 237 cm); it shows the chief figure of Guan Yu dressed in a green robe according to the most popular iconography of the fifteenth century and later. "He sits above his adoptive son Guan Ping, wearing red and drawing a sword.
However, she points out that she was actually the lovely servant of the painter which there is an intimate relationship between both of them. Base on the evidence given, the research made, the thorough explanation pointed out and the emotion when the speech is delivered by
Although these two paintings share a number of characteristics, there are by far more contrasts. Giotto’s style of painting is more naturalistic than that of Virgin and Child. Giotto had many influences, but Giovanni Cimabue is probably his greatest. The similarities between Cimabue’s Madonna Enthroned with Angels and Prophets and Giotto’s piece are striking. It seems that Giotto used Ciambue’s work as a framework for his painting, and improved upon it.
One of the most important elements of the Romanesque movement were illuminated manuscripts. There were few major innovations during this movement because it was a continuance of former Eastern European movements but, illuminated manuscripts were pretty specific to the period. Also there was the Gothic Art which was a Medieval art movement. One of the main Gothic art mediums was Illuminated Manuscripts. But During the 1400s Printing press was invented, During the Renaissance, hand illuminated manuscripts were still being made even though the printing press was invented
Though the painting was not on commission, as Sargent’s purposes were purely reputational, the Gautreau’s intentions are clear in the work and their values as a prominent family aligned with that of society at the time. Wealth, status and exotic aloofness are apparent in the dress, adornments and pose of the sitter. As Singer prided himself on “paint[ing] what I see,” it stands to reason that Gautreau would have worn such daring clothing and exhibited a sensual suggestiveness that would have pushed social boundaries at the time (Shi). In this way, Gautreau was the epitome of the 19th century woman at the forefront of social change, reigned in by societal value of material object and wealth, while pushing against the designated role of passive beauty with suggestive dress and
Elizabeth Gardner Bouguereau's Daphnis and Chloe is an American oil painting based on a Greek love story. While a single painting can not necessarily tell the entire romance, this piece of art portrays much of the legend well through its subject and content. And even beyond what is first noticed about the painting, there are many minute details of form and composition that bring this work of art together beautifully, telling the legend of Daphnis and Chloe in a single painting through excellent craftsmanship in the use of her medium of oil paints. The very first thing that catches the eye of any viewer of Daphnis and Chloe is Chloe herself. She is seated only slightly off-center, but due to the high-key color of her dress and skin, is the dominant part of the painting.
And then, I will further my research by examining how the masterpiece has been reproduced under different contexts. Fig 1. Leonardo da Vinci, Mona Lisa (1503) The meanings are produced through a complex social relationship that involves at least two elements besides the image itself and its producer: (1) how viewers interpret or experience the image and (2) the context in which an image is seen. (Sturken & Cartwright, 2001, p45) According to Diane Shipley DeCillis, the owner of Southfield gallery, Mona Lisa is the most famous painting in the history of art and continues to inspire reproduction, parody, scientific theory, and more. Thus, I think Mona Lisa is the most suitable artwork for me to mediate different meanings produced since the Renaissance until the postmodern world.
The Trinisity was made sometime between 1425-1427, it is a fresco and is aligned pretty close in relationship to the lines and perspective of the room it was located at the time, almost as an entrance facing the painting to enhance the tromp l' oeil effect. The Trinity unlike the The Mérode Altarpiece was most likely built for public use as there seems to have been an altar mounted as a shelf between the upper and the lower sections of the fresco. This piece really emphasizes the "reality" it was trying to portray. Not a lot is known of the commission, there is no document naming the patrons of this
The sculpture was very realistic because it brought dramatic shapes to life. Sculptures were not very popular in the north, but wood-carvings were. Sculptures in Italy had no effect on Northern Europe whatsoever. Woodcarvings were mostly seen in churches and cathedrals alongside furniture and interior designs during the Northern Renaissance. Albrecht Dürer, mentioned earlier, was not just a painter, but also an engraver.
In comparing Cimabue’s Madonna Enthroned with Angels and Prophets and Giotto’s Madonna Enthroned, the artists’ main idea of painting Mary enthroned is same, however the form used for the subject matter differs. The most important thing to note is that both artists paint with a Gothic and Byzantine style with their characteristics of a gold background and noticeable halos. When contrasting these two pieces of art, the main difference is the placement of the figures in each painting. In Cimabue’s painting, the angels are depicted around the throne with each row at different levels. This causes the angels to appear as if they are stacked on top of one another, unlike Giotto’s painting.