Rachel Garcia November 21, 2010 Art 11 Comparison and Analysis of: Raphael’s the Madonna and Child Enthroned with Saints and The Buddha Seated in Meditation. The title of the painting that I choose for this assignment is entitled The Madonna and Child Enthroned with Saints. This is a painting by the Italian High Renaissance artist Rafael, circa 1504. The Madonna And Child is an alter piece of an oil painting that also uses gold on wood. 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.
Once in the section of Christian Art, you are drawn to a collector’s piece called, Virgin and Child. The historical importance of this piece is that, it represents one of the few, but many symbolic figures which are valuable and significant to the Christian faith. The significance of the piece is that it represents Jesus as a child being in the arms of his mother, the Virgin Mary. The piece, which is sculpted completely in wood, can trace to the origins of Northern France around the second quarter of the 14th century. This period in the history of France (the Franks) is known as the Capetian Dynasty, which was mostly influenced by the movement of Gothic art.
-Seems to follow Raphael’s typical subject matter of the beautiful world of nature. CHARACTERS -Three characters in this piece are the Virgin Mary, Baby Jesus and St. John -St. John is depicted presenting Jesus with a crucifix shaped stick foreshadowing the death of Jesus years after. -He also gazes up toward Jesus instead of standing to his height in respect for his holiness -Although this hierarchy is only subtle because Mary’s arm reaches out to St. John to include him in the composition. -The Virgin Mary stares longingly at the crucifix shape with a concentrated expression as if in thought, her position is also rather dramatic. -Mary is once again wearing her traditional clothing of a red under garment and blue over cloak and skirt.
The Entombment is a glue-size painting on linen[2] attributed to the Early Netherlandish painter Dieric Bouts. It shows a scene from the biblical entombment of Christ, and was probably completed between 1440 and 1455[3] as a wing panel for a large hinged polyptych altarpiece. The now-lost altarpiece is thought to have contained a central crucifixion scene flanked by four wing panel works half its height – two on either side – depicting scenes from the life of Christ. The smaller panels would have been paired in a format similar to Bouts' 1464–67 Altar of the Holy Sacrament. The larger work was probably commissioned for export to Italy, possibly to a Venetian patron whose identity is lost.
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.
The North faced a more austere and miserable environment which is somewhat represented in their work whereas the south were more focused on bringing out the religious imagery of the Bible in their artists works. This is probably one of the main differences in the work of Northern & Southern art. We can see above that the work of Northerners such as Hieronymus Boche and Albrecht Diirer is more abstract in comparison to the paintings of someone such as Raphael who we can see has decided to go for a more realistic approach. Why is this? It seems that the main reason to take into account is the fact that the church commissioned nearly all the works that were done by Southern artists meaning that the pictures were to be displayed in churches and on stained glass windows etc.
It seems that Giotto used Ciambue’s work as a framework for his painting, and improved upon it. In Giotto’s Madonna Enthroned, the body of the Virgin Mary is full and assertive. Her clothing drapes in such a way that it seems to cling to her body. Giotto emphasizes this by creatively outlining the bosom of Mary with the silk drapery. The Virgin and Child are also the most prominent figures in the painting.
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.
The saints known to have had particular devotions to Saint Joseph are Saint Bernard, Saint Thomas Aquinas, Saint Gertrude, Saint Bridget of Sweden, Saint Alphonsus ,and Saint Teresa of Avila. As the Bible tells us, Saint Joseph was descended from the royal house of David. A village carpenter of Nazareth, he was chosen among all
This essay is a study of Parmigianino, The Madonna with the Swan Neck and also makes an attempt to understand the spirit and idea behind the guiding force that made Parmigianino deviate from the standard norms of art and paint this masterpiece. Before embarking on an examination of a particular work of art it is going to be useful to mention two key views of history that have been adopted by past and contemporary art historians as they will have an important bearing on how we ultimately understand the past and how this subsequently effects our interpretation of any artwork. Let us begin by illustrating how certain modern commentators have been influenced by past art historical narratives by considering the painting Madonna dal Collo Lungo or The Madonna with the Long Neck (Figure 1) by the Italian Mannerist artist Girolamo Francesco Maria Mazzola (1503-40), more commonly known as Parmigianino, a name that recalls his birthplace of Parma in the north of Italy. It is hoped that it will be possible to illustrate that any interpretation of Parmigianino’s painting is always going to be mediated through an art historical narrative, the mechanism with which art historians have traditionally employed over time to organise and make sense of our view of art’s past. If so, this will imply that any interpretation is ultimately going to be dependent upon another person’s particular view of art’s history.