The Madonna and Child is a piece that uses many techniques used during the Renaissance period such as one point perspective, balance, use of geometric design, and religious themes. While the Madonna and Child is very different from the first piece of art that I chose to analyze Buddha Seated in Meditation as both works of art use different mediums, come from different historical periods, and have different religious influences the artists both used symmetry and balance and religious themes while completing their works. The colors used by Raphael in this painting are very bright colors. In this particular painting Raphael used primary colors ,this painting is polychromatic in that it uses many different colors. The used of red and green and yellow adds contracts as red and green are on the opposite side of the color wheel.
The Mérode Altarpiece (Triptych of the annunciation), by the workshop of the Master of Flémalle and the Trinity With The Virgin. St. John The Evangelist, And Donors by Masaccio Brunelleschi are very different, but do have some similarities as well. The Mérode Altarpiece is an oil on wood panel from c. 1425-1430s and is a three part panel or triptych. It seems to have been commissioned possibly for private use as the panels are 64 x 63 cm, too small for public display. The portraits of the donors are in the left panel, the central panel shows an Annunciation to Mary and a miniature figure of Christ, holding a cross, flying towards Mary and the right panel shows Saint Joseph working as a carpenter.
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.
Art during the Italian Renaissance separated itself from religion; this is known as secularism. A piece that well describes secularism is the Mona Lisa- created by Leonardo da Vinci using oil paint. He began the Mona Lisa in 1503 and competed the painting in 1517. There are no real explanations as to why da Vinci depicted the Mona Lisa, but this painting does portray secularism. Other artful Renaissance thinking the Mona Lisa portrays is a common person, realism, and perspective.
In most paintings including Jesus, he is more often than not the main subject of the piece and because Caravaggio wanted to included the man as well, however him not be the main thing viewers look at first. He accomplishes this by diminishing his frame within the darkness. Just like in theater drama, the main focus that the audience looks to Is the one that's casted in light. The painting is given structure though the lighting and contrasts. Considering the actual light source in the painting, had the light been completely natural, all the light from the sun would beam through the window lighting nearly that entire room fairly well, certainly not pitch black in the corners.
Another difference between the two works is that Cimabue painted Mary and the angels with larger fingers and noses and he also used lines to define her clothing. Giotto portrayed Mary as a recognizable figure instead of as an idealized one. He used dark and light contrast in her clothing and
In this case, Jan Van Eyck’s Arnolfini Portrait by Erwin Panofski, used an iconographic analysis and The Painter’s Workshop by W.G. Constable used a technical analysis. The opposing results of both studies make this piece enigmatic; since there is no study which proves the artist’s real intentions; its doors are open for viewers to decide its nature. According to Pantofsky, the couple on the portrait were contracting “per fidem manualemm” marriage, a ceremony performing in the absence of a priest, only a promise of faith. He states the portrait is an “artistic marriage certificate.” It was a memorial portrait that worked as a document at the same time, where the artist signed his name as a witness.
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.
This shows realism, as it was painted during the Dutch Golden Age, and history painting, which shows a religious scene, in this case, when Simeon was holding Jesus. My attention and gaze started moving out from the middle, and the second person I focused on was Simeon, as he was the one that was holding Jesus. He also is dressed in red, gold, and bits of purple, which again shows splendor. He is an old man, as evident by the white beard and hair. His facial expression looks surprised, even shocked, but I believe in a positive way, as it would not fit the scene if something negative or unholy were to happen.
Azul Gurruchaga Shanoskie April 17, 2015 The Vision after the Sermon Paul Gauguin created The Vision after the Sermon or the Jacob Wrestling with the Angel in 1888. He rejected objective representation for subjective expression, which also broke with the Impressionistic studies of minutely contrasted hues because of his belief that colour must be expressive and it’s the artist’s job to choose the colours used in a painting as a seminal element of creativity. In contrast to Van Gogh’s heavy, thick brush strokes that were an important component to his style, Gauguin colour areas appear flatter and visually dissolving into abstract patches and/or patterns. He took lessons with Pissarro and quit his successful business in 1883 in order to dedicate his life to the art. In 1886 Gauguin moved Pont-Aven in France where he painted this work, which rejects both Realism and Impressionism.