medium/media (singular/plural) – The material with which an artist works such as ink, bronze, oil paint, or watercolor. montage – A composition made up of pictures or parts of pictures previously drawn, painted, or photographed. movement – The direction the viewer’s eyes take when looking at a work of art. Sometimes it
Art Timeline Paintings of the Renaissance in European Art Annunciation Triptych (Merode Altarpiece), ca. 1427–1432 Workshop of Robert Campin The Annunciation Triptych (Merode Altarpiece) is an early South Netherlands painting that worked into an altarpiece. Records state that Robert Campin hired two assistants (Rogier van der Weyden and Jacques Daret) to help him with the painting. The artist used oil paint onto an oak piece and used the doors of the piece to add an expansion of the scene. The scene itself incorporates the angel Gabriel bringing the news to the Virgin Mary that she was soon to give birth to Jesus.
Art Analysis The piece of artwork I am going analyze is called Baptism of Christ. This painting was painted with oil on wood by two famous Italian Renaissance artists: Andrea del Verrocchio and Leonardo da Vinci. This also was the first and only piece that the two artists collaborated on, and was the first piece of art that Leonardo da Vinci would be known for. This piece of artwork is not just beautiful, but it is rather important to the history of art due to the new painting technique brought about by young Leonardo, who was in Verrocchio's workshop around 1470 just before the painting was finished in 1475. The painting was started in 1472 and took an entire 3 years to complete.
Fig.1 was created by Hendrick ter Brugghen during ca.1625. Fig.2 was created by Gerard David during ca. 1495 to 1500. To know about these painting, we must know the background story of the painting. The Crucifixion with the Virgin and Saint John, ca.
Research Paper Art 1000 15th April,2008 The Metropolitan Museum of Art “Virgin and Child in Majesty” and “La Frileuse” Outlines for Virgin and Child in Majesty:  The “Virgin and Child in Majesty” is a sculpture that was made in Auvergne, France during the twelfth century. Its height is thirty one inches, and it contains linen, gesso, and polychromic on walnut.  The title of the sculpture states that this sculpture was used as devotional object. It also states that the sculpture was served for religious purposes because it represents Mary and Jesus from the Bible.  The statue is representing Mary and she’s supporting Jesus with both hands, while sitting on a stool.
The artist Giuseppe Archimboldo was an Italian painter who started out working for the office of the Fabbrica in the Duomo. Archimboldo was commissioned to do stained glass window designs which included the Stories of St. Catherine of Alexandria vitrage at the Duomo. He also worked on frescoes for the Cathedral of Monza. In 1558, Archimboldo drew the cartoon for a large tapestry of the Dormination of the Virgin Mary, which is still hanging in the Como Cathedral today (Giuseppe Archimboldo biography, 2013). Giuseppe Archimboldo was considered a mannerist artist who worked in the sixteenth century.
The brush work is very evident and hard (I could see the brush strokes on the canvas). There are different shades of colors blended together. The uses of Dark colors integrated with lighter colors is very present. For instance, the gentleman seated at the table with his hand pointed is much more darker in color specs than the gentleman seated to his left with much brighter, crisp colors. The definition of the bodily features is very relevant to the Baroque era.
Therefore, Santa Maria delle Grazie became the court church, burial place for members of the Ducal family, and home to Leonardo's famous painting. The Last Supper was painted on the northern wall of the refectory. It measures fifteen by twenty-nine feet. It stands whole as of today, except for the construction of a doorway in 1653, eliminating the lower central area of the painting. TECHNIQUE Leonardo's method of working on the Last Supper was unprecedented.
After the cleaning, did the restoration take away from Michelangelo’s work or did the restoration complete its objective by bringing the artist back? Michelangelo devised a suspended bridge-like scaffold to allow the chapel to be used throughout the course of the decoration. On either side of the windows just above the cornice, deep holes were cut into the walls (discovered during the 1980-89 restoration) to anchor short wooden brackets extending slightly beyond the cornice. A wooden beam was then laid horizontally across these two brackets to support a wooden truss or scaffold wider than the window. This truss arched across the space to the corresponding beam and brackets on the opposite wall.
To quote the website of the National Gallery of Ireland who purchased this work in 1861, “St. Bernardino of Siena is on the left holding a roundel with Christ’s monogram encircled by golden rays, along with St.Mark with his gospels. To the right is St Louis of Toulouse in his bishop's garb, and St Jerome with the cardinal's hat and his translation of the Bible.” The symbolism of each of these objects refers to the saints holding them a prime example being Mark carrying his gospels as he is one of the four evangelists, Matthew, mark, Luke and John who wrote the gospels. The roundel in the hand of St. Bernadino symbolises the light that Jesus has brought to the world, he is the Christ Child, the Saviour who delivers us from our sins. In contrast to this, Uccello’s painting carries little or no symbolism, its simplistic style is reminiscent of early iconography, its layout reminds me of the iconography of Cimabue and Giotto.