Similarities Between The Child And Madonna And Child

Similarities Between The Child And Madonna And Child
Before exploring the many similarities and differences that can be found when comparing
Machiavelli's 'Virgin and Child Enthroned with Saints' (c. 1470) and Uccello's 'Virgin and Child'
(c.1435–1440), one must consider the importance of the Madonna and Child icon in Renaissance
art.
The Florentine artist Giotto was one of the most influential figures in art during the early fourteenth
century. Giotto, a true innovator, transformed the once heavily stylized depictions of Madonna and
Child into believable, lifelike pictures. He put an emphasis on three–dimensional figures with a
classical approach to mass and volume.
This transition from stylised art to realism allowed paintings of the Madonna and Child to become
more than simple icons; now, ... Show more content on Helpwriting.net ...
This was a notoriously tricky medium to work in; wood panels had to be set in the room they'd be
painted on for twenty–four hours, dried, sanded, covered in liquid gesso and burnished until smooth.
It is possible that Machiavelli also used a small amount of oil to bring an added vibrancy to his
colour palette; as we can see a definite saturation in colour in comparison to Uccello's colours. This
would allow Machiavelli to access a wider range of colours and tones, as can be seen in the
beautiful tonal variances in the figures cloak folds, ranging from St. Mark's bright red robe, to St.
Louis's pastel pink robe to the Virgin's royal blue robe. This gives Machiavelli's work a much richer
look, especially with the addition of vibrant gold–leaf in the background. Uccello allows himself to
be restricted by tempera's lack of tonal range, staying in a warm range of orange, beige, yellow and
a stark contrast of black. This gave the painting a much more condensed palette, within which he
still manages to create believable shapes and shadows. This restrained palette also makes the Virgin
and child seem more relatable– like normal humans and like not the ethereal, glowing beings that
Machiavelli paints. Both paintings are distinctively Early–Renaissance in style and both make very
valid attempts at realism. Uccello's style is rather difficult to pinpoint as he left no school of
followers, so he is perhaps best described as
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Similarities Between Madonna And Child With St Romeo
The painting titled "Madonna and Child with St. James Major and St. Jerome" was created by
Girolamo di Romano (or Romano the second) in ca. 1484–1562. This painting comes from the
Italian renaissance period beginning in the late 13th century and continuing to the late 16th century.
The time of this renaissance was a time when the Italian peninsula was divided into many political
areas. The Italian Renaissance paintings were influenced by Philosophy, Literature, Architecture,
Theology, Science and Government in Italy and often achieve much of their effect through color and
mood. These paintings are divided into four periods the Proto–Renaissance (1300–1400), the Early
Renaissance (1400–1475), the High Renaissance (1475–1525), and Mannerism. ... Show more
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Giorgione made art with elements of mood, mystery, large figurative compositions and nude
women. He also often made paintings with a religious bias. Titian, on the other hand, was one of the
most versatile of Italian painters. He made portraits, landscape paintings, religious paintings and
incorporated nude women like Giorgione did. Titian and Giorgione both founded a distinctive
Venetian school of Italian Renaissance painting and were extremely influential Italian painters; So,
it is logical that Girolamo di Romano was inspired by them.
This painting likely was painted for churches in the region of Brescia in Northern Italy. It depicts the
patron saint of Spain, Saint James or Santiago, on the right holding a staff and wearing a scallop
shell cloak. A patron saint is a person who has already transcended to the metaphysical world and is
able to make decisions and end disputes

Isis, Madonna And Child, And Virgin Mary
Isis, Black Madonna, Madonna and child, and Virgin Mary are all related topics. They have some
common area that brings them together. They all involve in religion in catholic and orthodox
countries. They are all looked at as important religious women figures. They are/were the women to
be in ancient African Catholicism. Isis was one of the first worship Gods. She was goddess of the
dead and sick; she brought the dead and sick back to health, and cared for her people. People looked
at Isis as the perfect mother. This is the model that women strived to be. Along with this, the Virgin
Mary was the mother of all heavenly and was depicted as being black in ancient African society.
This is important because those are who women looked up to in faith.

The Characteristics Of Intellectual Art In Children By Max...
The extensive history of art as we know it draws back to the primitive cave drawings of our
ancestors from tens of thousands of years ago. Since then, it has evolved in a multitude of ways,
taking on many different forms, mediums, and techniques. Art is a reflective work; in it we are able
to find emotion, inner thought, life events, culture, nature, time periods, etc. Above all, this allows
us to recognize the defining characteristics and methods that many artists employ to appeal to our
senses. Heinrich Wolfflin, an art historian, went about categorizing art according to whether it
appeals primarily to the emotion or to the intellect. By examining for such styles through their
characteristics in the paintings The Madonna and Child with Saints Louis of Toulouse, John the
Evangelist, and Donors by David Ghirlandaio and The Sinking of the Titanic by Max Beckmann, I
was able to determine the former displays intellectual art and the latter displays emotional art. I
classified The Madonna and Child as intellectual art due to many reasons. I immediately noticed
that the painting has horizontal and vertical lines. These suggest stability and immobility. Madonna
is sitting straight up with vertical columns at either side of her. The steps below her run horizontally
across the painting in lines. Standing below the steps are two figures, and there are two figures
below them, their bodies cut off mid–chest. All of them are standing erect, possessing forms of
vertical lines.

Why Art Has Three Main Purposes
I believe art has three main purposes. One, to educate. two, to understand, and three, to amaze. Let
me explain myself more thoroughly. We want individuals to be educated from the art they see in a
museum. Educated about the culture, meaning and purpose that certain art pieces served to a
community way back when the piece was created. Also, we want the viewer of the piece of art want
to know more about it. To understand why the piece was made out of certain materials, how those
materials were obtained, and how their surroundings influenced the art that they created. Lastly, the
idea to amaze, undoubtedly the most important out of the three. Patrons want to come see art, that
will stop them in their tracks and leave them breathless. An exhibit or work of art that they will
continue to think about after leaving a museum, and causes an impact on their lives. This is why the
average person would go to an art museum, and it is very important that we have pieces in our
exhibits that do such things and that leave them in an amused trace of appreciation. Religious art
tends to do all of these things, for it educates about stories from different beliefs, allows people to
better understand that faith, and whether one is religious or not, the emotion of the art never ceases
to amaze. Religion is a big factor in a lot of people 's lives. In fact, over 2.2 billion people around
the world practice the Christian faith. One of the appeals about pieces that relate to the Christian art

Monaco's Madonna And Child
Introduction: Out of most of the pieces on display in the Renaissance corridor located on the second
floor of the museum, Lorenzo Monaco's Madonna and Child caught my eye in such a strange,
peculiar manner. This was partially due to my fascination with early renaissance artwork and the
artist of that era. It is a medium–sized tempera piece layered on panel placed right of the second
room of the corridor. Historically speaking, it was devised between the years of 1370–1371 in
Florence, Italy. This was the genesis of the renaissance era which also signaled an end to the
medieval era of art. With this passing came renewed interest in the classical Greek philosophical
themes and the discovery of humanism. While not the originator of painting, ... Show more content
on Helpwriting.net ...
The painting is a full spectrum representation of the beauty of Christ and Mary with a focus on
realism. It makes perfect sense seeing as many renaissance painters focused more on those classical
themes and the anatomical structures of the human body beginning around this time frame.
According to Top 10 Florence and Tuscany, the concept of Madonna and Child as a work of art
spans far back to Byzantine era of art, which focused less on the anatomical realism of the Italian
renaissance but more in the realms of telling a theological story. Both byzantine and renaissance
shared similar themes on this particular work but with different methods of execution. With
Lorenzo's version, the painting captures the idealistic, serene pureness of the mother and child while
pushing those theological themes onto the viewer. This was done to ensure that the readers saw both
figures as nothing less than the embodiment of perfection seeing as the child is the god born son.
Also, this plays a part in showcasing the motherly love Mary has for her newborn child. Strong
Christian values played heavily into the works color scheme and patterns by strengthening the
angelic representation of both figures. According to my earlier notes, Monaco crafted the altarpiece
for Monte Oliveto, which was a local monastery that was a frequent patron of Monaco's art. That
makes perfect sense, seeing as the main audience of this work would be devoted followers of

Art Analysis Form
Art Analysis Structured Draft
Introduction
Over the years different forms of art have been made and stored as treasures thereby forming an
aspect that has been carried on for centuries. Art may be done in the form of paintings, sculpture,
playwright, or poetry to provide the audience with the producer's expression. Some forms of art
have been made to express political, religious, societal, or filial messages. This paper tries to focus
its attention on paintings as one form of art and specifically on the 1380 Virgin and Child done by
Antonio Veneziano and the 1504 Madonna Del Granduca by Raphael Sanzio. Both paintings are
from different eras of art work, which as Gothic and Renaissance respectively and focus on the
human form with religion being depicted as the theme. Both exhibit numerous variations of possible
meaning, color, shading, and styles from lines. The two paintings show a commonality and
transformation of the art techniques from perspective to humanism and try to capture the moment,
which is beautiful from the look of their eyes.
Virgin and Child
Virgin and Child was panted by Antonio Veneziano using oil on canvas with a gilt frame in 1380
CE, a period famous for Gothic type of art. The painting measures 34 by 25 centimeters and depicts
a woman ... Show more content on Helpwriting.net ...
The two paintings are warm and emphasize the golden color, which gives the paintings a religious
theme, whereby they are seen to depict Virgin Mary and baby Jesus. The two also give a connection
of the mother and child as a show of femininity. All the figures emphasize the theme of religion
using the halos on their heads. Light is also emphasized on both paintings as the artists allowed it to
shine on the figures from the foreground. Moreover, the artists utilize texture and form in the
paintings to add contrast and dynamism. The four figures are all smooth and focused on each

Correggio's Madonna And Child With Infant John The Baptist
An iconographic approach to interpreting Correggio's Madonna and Child with Infant John the
Baptist asks us to look for hidden meanings or symbols within the work of art. A pre–iconographic
description of Correggio's Madonna and Child with Infant John the Baptist would be the
identification of a two babies and a woman. An iconographic analysis of Correggio's Madonna and
Child with Infant John the Baptist would show that the Madonna and child are common motifs
represented in Christian paintings, as well is the story of John the Baptist. It was known that Saints
were usually depicted with personal symbols in order to clearly identify the figure in question. The
Madonna and child is a repeated motif through Christian paintings and Madonna (Virgin Mary) is
commonly depicted draped in luxurious fabrics in the colours green, red and blue. In Christian
iconography, Christ as a child was commonly depicted blessing Infant John the Baptist with two
fingers raised on his left hand as infant John the Baptist as offers Christ a cross which is often
understood as a sign of future betrayal and death. (DOUBLE CHECK) To interpret Correggio's
Madonna and Child with Infant John the Baptist through Panofsky's iconographical approach, the
last two stages of would require research of additional sources to understand the specific ... Show
more content on Helpwriting.net ...
Firstly, a criticism of the Panofsky's iconographical approach is that this method cannot be applied
to all types of works, however, luckily for Correggio's Madonna and Child with Infant John the
Baptist, this can be done but it needs to be recognised that it can't be applied to all works of art.
Through an iconographic interpretation, Panofsky tends to assume cultures are homogenous and
overlooks the social tensions and struggles within a society at the period of time and doesn't
translate it into his interpretations of works of

Raphael: The Madonna of the Candelabra Essays
Raphael: The Madonna of the Candelabra
During the Italian Renaissance Raphael was one of the most influential artists. He painted many
brilliant pieces, mastering the use of depth, perspective, and the use of shadow and light.
Throughout his life, Raphael used the Madonna as a reoccurring subject in his work. One example
of this subject is the Madonna of the Candelabra. This dark shadowy portrayal exemplifies the pure
and humanistic ideals of the Madonna that made Raphael's versions so well known and loved
throughout the ages. The timeless beauty and grace that he captured and the realistic qualities of his
work are ... Show more content on Helpwriting.net ...
He seemed to go over the areas that he believed needed further work with darker strokes of the pen.
He always strived for the perfect rendition of a naturalistic pose. His next quandary was the
landscapes that would determine the location, be it a field or as in the case of the Madonna of the
Candelabra, a shadowy curtained area. He was said to have had his apprentices pose so that he could
capture just the right position that Mary would assume in the painting as related to the
landscape(Pope–Hennessy 180).
While Raphael was influenced by other artists of the time, such as Michelangelo and Leonardo, he
remained unique in his individual style. Raphael began to use the previous renditions of the
Madonna as an influence. The symbolism of the Madonna is that of beauty and grace while
incorporating a sense of pureness associated with her. The use of the candles in this particular
Madonna show the light of Christ that is being brought into the world by Mary. She is giving birth
to the light of the world, according to the Christian faith. The halos around her head and the head of
Christ add to the feeling of holiness that the painting was intended to imply. The other figures
appear to be angels overlooking the mother and child, as if guardians from heaven sent to watch
over them like a shepherd watches over his sheep. There is no reason that this painting was named
the Madonna of the Candelabra other than the fact of the presence of the

Madonna And Child Enthroned Analysis Essay
Alex Genatt
ARH132: Visual Art Analysis
Lippo Vanni's "Madonna and child Enthroned" (1343)
When the Roman Empire collapsed, Gothicism was born. While Gothic art was first characterized
as Romanesque art, Gothic art soon came to be its own form of art and era during the Middle Ages.
Gothic art was a new combination of sculpture, painting, architecture and art. In its truest form,
Gothicism is illustrated in Lippo Vanni's 1343 painting "Madonna and Child Enthroned." Vanni's
work is a symbol of the transitioning time period between the Greco–Roman times and the
rejuvenation of the art world. There are several historical, economic, and cultural events that caused
the people of this time to look at life in a new way, and thus, art to be ... Show more content on
Helpwriting.net ...
Throughout the Gothic and Renaissance period, there were many other famous painters and
sculptors that have created Madonna images. For example, Giotto's 1300 work, "Madonna
Enthroned" has many similarities to Vanni's work. The use of the golden colored background is used
to draw the viewer's attention and bring a sense of religion, such as seen in Vanni's work. The
composition is also similar to Vanni's work in the sense that the main, and most important figures
are the largest and most prominent and the perspective is linear.
However, this work differs from Vanni in both complexity and presentation. Giotto uses light and
shadow, as well as more continuously moving lines in order to present elements more naturally. For
example, the drapes in the illustration seem to fall due to the naturally occurring elements of gravity,
making the painting more realistic. Furthering the notion of natural elements, Giotto's figures have
imperfect facial features. Another difference between the two works is the presence of depth, seen
with the steps that lead to the

Comparing Two Italian Paintings: Madonna And Child
I traveled to the National Gallery of Art in DC to observe the impact the Renaissance had on the
style and characteristics artists would use in their paintings going forward. In order to do so, I
decided to compare two Italian paintings; one during the time of Renaissance, and the other
predating the movement. While searching for the paintings I would compare, I stumbled across a
painting in between the times of these two paintings, and I decided to compare that painting as well.
To make the most accurate comparisons, I focused on the portrayals of the Madonna and Child, as
this seemed to be very prevalent throughout the Medieval and Renaissance eras.
The first depiction of Madonna and Child I analyzed (Image 1), was painted by Margaritone
d'Arezzo in about 1240 AD. It appeared to be very bland, with most of its few colors gravitating
toward the color brown. The prominence of the blue in Madonna's dress was the only thing that
separated her from ... Show more content on Helpwriting.net ...
This painting also featured Saint Peter and Saint John the Evangelist. Upon first glance, the painting
seemed much more realistic than the other painting by d'Arezzo. This could be attributed to the
painter's use of shadows to portray a small amount of depth. Additionally, the painting was much
more vivid and colorful than that of d'Arezzo's painting, which added to its realistic properties. For
instance, the blue color of Madonna's outfit allowed her stand out when placed upon the gold
colored background. Also, the small details made the people seem more lifelike. An example would
be the fine detail in the fabric, and how it folded and rippled like that of a real piece of fabric.
Finally, the more accurate human proportions made the painting more believable. For example, the
baby, unlike the other painting, was chubby and did not yet have developed facial features, which
made it seem like you were looking at an actual

Art Analysis Essay
"The Madonna and Child with Saint Anne and an Angel" is an art piece with many different art
principles and elements that are conveyed in such a manor that alludes complexity and great
importance. The picture consists of four individuals– an angel, a baby, a Madonna or mother, and
Saint Anne. The baby, cradled and asleep, is being overlooked by an angel, as the angel seems to be
covering the child with a white blanket and much great care. Contrary to modern pictures, the angel
has black wings wearing normal clothes similar to that of the mother and Saint. An important
characteristic of the baby is that he has bright blonde and orange hair, a trait that resembles Jesus
Christ. The mother and Saint Anne seem to be having a very important face–to–face discussion. All
characters in the painting, including the child, are wearing late 15th century early 16th century
clothing (rags and clothe looking material dresses) and recognizable colors. Though the child and
the Madonna type of paintings are indeed of Jesus and his mother, the photo is able to explain that
being untold the ... Show more content on Helpwriting.net ...
Off the back the painting is informal or asymmetrical which generally makes it more visually
attractive because of the lack of consistency in objects and the fluid movements of objects. Through
the expressed elements presented previously, the artist was able to show movement in many aspects
of the painting making it almost a freeze frame moment of an actual event. The artist uses the
elements to show the movement of the angel and the child as the angel lifts the clothe over the child,
and also the hand gestures of the Madonna and Saint as they discuss the importance of the child's
birth. There is also great harmony in the piece because of the different aspects of color and value
that added to the greatness of

Virgin Adoring The Christ Child With St. John The Baptist...
The images of Madonna and Child (1425) and the Virgin Adoring the Christ Child with St. John the
Baptist and Two Angels (1500–1520) show the transformations in painting accumulated by artists
during the Renaissance period. In Michael Baxandall's work Painting and Experience in the
Fifteenth Century Italy he uses contracts between artists and commissioners to present a sort of
timeline of differences between what people wanted in works of art during the fifteenth century.
At the beginning of the fifteenth century commissioners had focused contracts on physical materials
being used such as gold and ultramarine, and the type of medium and framing being used. Towards
the middle and end of the fifteenth century, while material was still of importance, commissioners
focused the detail of their contracts on the skill of the artist painting it. For example, commissioners
paid for only the main artist to paint the image and the people in his workspace could not influence
it or that only the main artists could mix the colors but his disciples could work on certain aspects of
the painting. Skill had become more valued because more and more people were considering
themselves "artists" simply because they could buy ... Show more content on Helpwriting.net ...
During the Renaissance, Christianity still had a great influence in art however many tried to
represent the Virgin's maternal side due the humaneness and relatability. But there are many
differences between the two paintings, the most obvious one being the difference in the background
which emphasizes the shift during the Renaissance away from the importance of the material to the
importance of skill. The image of the Madonna and Child is on a simpler all gold background and
the Virgin Adoring the Christ Child with St. John the Baptist and Two Angels has a very detailed
landscape in the foreground with trees, rocks, mountains and the

Madonna And Child: Duccio Di Buoninsegna
The painting, Madonna and Child, is an artistic piece of work painted in the 12th century to be
precise between 1290 and 1300. The painter is identified as Duccio di Buoninsegna was an Italian,
Sienese, who was alive in the period between ca. 1278–d. 1318).
Formal analysis. Overall, the dimensions of this painting, with frame, 11 x 8 1/4 in. (27.9 x 21 cm);
painted surface 9 3/8 x 6 1/2 in. (23.8 x 16.5 cm). This work is done with Tempera and gold on
wood, with original engaged frame. The damage caused at the bottom of the original frame is from
candles lit before the picture, which was used for private devotion. The painting has a powerful
presence despite its size. It captures the eye from a long way, and commands, from a closer view, ...
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But Duccio's picture also straddles the threshold between past and future, between antique
convention and a new realism: like a knot, its busy cluster of hands and feet formally breaks up the
delicate, abstracting S–curve made by the gold trim on the Virgin's gown as it crosses her chest and
dips into the fabric that drapes between the child's spread legs. At the same time, that knot expresses
motherly love. One of the Virgin's long thumbs provides ballast for Jesus' leg, while her other thumb
extends just far enough to meet the tip of his drooping garment, a tender and immediate gesture that
rings true. ' (2015, The New York Times > Arts > Art & Design > Art Review: Duccio Gem Perched
Between Artistic Eras) .It is important to realize that each and every aspect of this composition
represents a departure from pre–existing convention. With these not–so–evident changes, Duccio
consciously developed an image of extreme tenderness and at the same time expressed a sad sense
in humanity. It

Comparing Cimabue Enthroned Madonna And Child
In the early 13th century two paintings came to shape the view of the Christian faith and put their
stamp on history by ushering in two different styles of the same idea. Cimabue Enthroned Madonna
and Giotto Enthroned Madonna became iconic images that have stood the test of time. At a glance
they appear to be same but with a closer look very distinct differences are apparent and
unmistakable.
The Cimabue Enthroned Madonna and child was painted around 1285 A.D. for the church of Santa
Trinita in Florence. The painting was massive measuring over twelve feet high and seven feet wide.
The painting is vivid and vibrant red, blue, and the gold color over powers the viewer and shades
them to the perceived glory of Jesus and all he stands for and can be to them. The image is not
constructed in three dimensions that people are accustoms to today, but instead one dimension were
size is ... Show more content on Helpwriting.net ...
The most obvious difference is the way the painter arranged the images in the space of the painting.
Cimabue is one dimensional with no real floor, as represented by the angels standing taller than each
other with no elevated surface to speak of; as where Giotto has a natural incline to the painting and
the angels are kneeling on a solid floor. Cimabue painting all angels were mirror images of each
other and none look at the baby Jesus, and in contrast Giotto all angels have different faces, robes
and hair styles and all eyes are affixed on the baby Jesus. Jesus is close to the same with some
stylistic differences in appearance. One Jesus is more of a mini man and the other a baby. Giotto
appeared to take a lot more effort and focus on making the angel and Mary more real by giving
Mary color stained lips and feminine features. Also showed her as more of a mother by the way she
appears to be holding the baby with two hands to support

Madonna And Virgin And Child Essay
The Medieval Ages marked thirteenth century Europe, but steady progression towards the
fourteenth century showed a contrasting image of the world. The Renaissance movement slowly
overshadowed the Gothic and Italo Byzantine characteristics that dominated Medieval Europe in
favor of the resurgence of classical antiquity. Late fourteenth to early fifteenth century artwork
exemplified the development of Greco–Roman naturalism the increased piety of Italians evident on
the heavy demand for devotional images, and the expanding consciousness of philosophical and
scholastic abstractions relating to the natural world. Likewise, the Master of Straus Madonna's
Madonna and Child of the Goldfinch (Museum of Fine Arts, Houston) of c. 1395–1400 and
Antoniazzo ... Show more content on Helpwriting.net ...
The frames of both paintings are gold and ornate, but more importantly, both have the same phrases
engraved below the painting. "Ave Maria Gratia Plena" are the words of Catholic devotional prayer
typically spoken with rosary beads, and directed towards the Virgin Mary. Personal devotions
became an increasingly common practice during the late 1340's, following the proliferation of the
Black Death especially within populated Italian cities (Gardner, p.406). Responding to the growing
fervor for the Bible, artists receive many commissions to conceive biblical legends into reality. The
Madonna and Christ child in both Strauss Madonna and Virgin and Child convey an allegorical and
symbolistic representation of Resurrection: the parallel of the sacrifice of the Christ's body to the
suffering of humans. Jesus Christ's suffering through crucifiction and physical worldly suffering.
Despite the celestial backgrounds and striking halos, Master of Straus Madonna and Romano
illustrates these venerated idols as humans. Tale dictates that a goldfinch received a red spot from
the blood of Jesus after pulling a thorn from his head as he approached closer to the time of his
crucifixion. The goldfinch held by infant Christ serves as a reminder that God lived as a man and
died as a man, and a consolation to the audience that suffering and death will lead to human

Art Difference Between Apples And Oranges
The times are changing, and the art changes with these times with the people. Every piece of
artwork in judgment to apples and oranges such as one piece of art may be enjoyed by one person
that might not be appreciated by another person. The current events in a period affect the art. The
difference between these two paintings has a lot to do with the time these artists live in because the
social movements change people's moods. For example, the Great Depression or more currently the
Recession in 2008 when people who love are cannot afford to buy art, because they cannot even pay
their mortgage. The expressionism movement was the beginning of the modern contemporary time
in comparison to the realism movement are apples and oranges in the 1500s the artist hunt the
organic objects they used to put in their pigment.
These two different paintings are coming from two distinctly different periods are great examples of
how art can have the comparison of apples and ... Show more content on Helpwriting.net ...
One piece of art could be favored in the past but not currently popular today. The Italian Madonna
and Child Beside a Window painted by Mariotto di Biagro Bindo Albertinelli is a beautiful rendition
realistically painted capturing the depth of field. The viewer can imaginatively reach out and touch
the painting just kids want to if only the museum would let them. The green and blue mixed into the
fabric in the front also in the back of the picture in the landscape creates the illusion of depth in the
foreground even in the background of the painting. The blue and the green in the scene in the
background painted with loose brush strokes similar to the expressionistic art of Pechstein of the
ballerinas, but the ballerina's picture is more expressive with bright color along with a looser style.
These two colors give a

Parental Constincts In Jamaica Kincaid's Short Story 'Girl'
Parental instincts do not come from nowhere; parents are always over their children's shoulders and
telling their children what to do. Eric Fromm tries to explain these parental instincts in The Art of
Loving, and the parental theories described by Fromm can be applied to stories such as "Girl" by
Jamaica Kincaid. Kincaid's short story, along with portraying Fromm's maternal love theory,
supports the Madonna/whore syndrome, which was theorized by Sigmund Freud.
Fromm's maternal love, and Freud's Madonna/whore syndrome can be closely tied to one another.
Maternal love is unconditional, and a mother truly knows how to love when she is able to separate
from her child. If a mother lacks the unconditional love aspect, and

Management Case Study Of Madonna
Cynthia Low
Gan Su Jin
Koh Pei Sze
Samantha Yap
Yong Jine Yee
SEGI College Kuala Lumpur / American Degree Program
Assignment 1
BA 454
Management Cases
Introduction
Madonna is characterized as a typical entrepreneur who signified a dedicated and hardworking
individual who strive to achieve business aims which is to make profit. She involved herself in
various merchandising deals, investment in fine art and property. A significant valuable business
method is vital for an entertainer to design appropriate methods to advertise the self into the market.
It outlines in what way the entertainer ought to be like, in order to get attention and to increase self–
image.
With a good business method, it enables entertainer to increase its populations ... Show more
content on Helpwriting.net ...
Her continuous achievement in music industry had made her a greatly popular business lady. Her
ability to sense the trend of music had made her differentiated from other people. She had impress
buyers by providing benefits through products and services which is different from the other
competitors. In addition, she also strive to offer a greater perceived value justifying a higher price
which emphasis on certain market division for instance, top selling albums and singer, world tour
concerts, films, style icon for Pepsi, MaxFactor and Gap and Author of top selling children's

Character Analysis Of Albrecht Duerer's Lot And Children
In the gallery room for 16th century German art, a single column stands towards a wall, facing the
entrance directly. The translucent ceiling above has many small lamps facing in different directions
to light the room, but the one aiming directly at the front of this painting is noticeably brighter than
the rest. Albrecht Duerer's Madonna and Child is illuminated with such ferocity from above that its
angled, bronze–painted frame casts a shadow both on the painting and on the column below.
Surrounding this painting is the taupe–grey of the column, which has a slightly deeper surface for
the painting to hang on; while the painting is hung slightly below eye–level for many, the column is
much taller and features a light cornice at its peak. However, the reverse of this structure is
important, for it also features the reverse of the painting itself–Albrecht Duerer's Lot and his
Daughters. In stark contrast to its obverse, this painting is cast in shadow. A small window slightly
larger than the painting itself displays it, and there is absolutely no ceiling lighting highlighting this
work at all, with the harsh lighting for the front painting worsening the ability to examine this one.
Upon closer inspection, it seems that there is a light within the window itself, providing a soft glow
from the top down. However, this lighting was not functional on several occasions in November of
2017, while its surrounding paintings were still more illuminated; the wall behind the column is

Enthroned Madonna Vs Ossanti Madonna
After thoroughly reading Chapters one and two, it became transparent that both Enthroned Madonna
and Child and Ognissanti Madonna are nonetheless similar in size, structure and style.
Beginning with his work, the painting is roughly twelve feet tall. Cimabue used various leveled
scale with the indivduals in this piece (the idea that greater is better and generally critical). Various
leveled scale implies placing things all together of significance in respect to estimate. In this piece
the blessed messengers in the upper part don't number towards the various leveled scale since it is
just used between individuals, not celestial. The prophets at the base are from the old confirmation.
One approach to select prophets in works of art is that ... Show more content on Helpwriting.net ...
Giotto picked and masterminded his subjects deliberately. The larger than usual, forcing Madonna,
the grave, noble infant Jesus, and the mindful, devout holy messengers and holy people at their feet
are all similarly urgent parts of the artwork and, separately, appear to have their very own existence.
Maybe the most momentous part of the Ognissanti Madonna is Giotto's amazing utilization of
shading. With a conventional gold foundation, the gold of the blessed messengers' radiances and
gold lines along the royal position, the sketch appears to sparkle in a majestic, heavenly light. The
warm greens and reds, diverged from the light pinks and purples, serve to acculturate and help the
generally profound, ethereal painting. Surface assumes a key part in the Ognissanti Madonna,
particularly in the characteristics of di Bondone's subjects. An investigating take a gander at the
composition uncovers the strikingly human–like surface of the fragile living creature and the
painstakingly nuanced outward appearances of elegance, delight and regard. The apparel, as well,
exhibits di Bondone's careful scrupulousness. The thick, rich robes of the Madonna fall reasonably
between her legs, the free creases appearing to possess genuine space. As he would do all through

Interpretation of Giovanni Bellini’s Madonna and Child
Giovanni Bellini, (born c. 1430, Venice [Italy]–died 1516, Venice), Italian painter who, in his work,
reflects the increasing interest of the Venetian artistic milieu in the stylistic innovations and
concerns of the Renaissance (metmuseum). Bellini was one of the most influential Venetian artists.
He lived and worked in Venice all his life; his career spanned 65 years. Little is known about
Bellini's family. Bellini's father, Jacopo, a painter was a pupil of the Gentile da Fabriano, in any
case, Jacopo introduced the principles of the Florentine Renaissance to Venice before either of his
sons (Britannica). Jacopo strove to ensure that his sons would become distinguished painters as well
and, it is said, often pitted them each other.
In Bellini's depiction of the Madonna and Child (One of Bellini's mature works), the Madonna, with
her face calm and collective, is tenderly holding the Christ Child on her knee, the Madonna is seated
improbably in front of a velvet curtain set in a landscape with a city and rolling mountains in the
distance. "The transition from a dormant to a verdant nature and a dawn sky is a metaphor for death
and rebirth (metmuseum)". The landscape seems to allude to the theme of death and resurrection:
the trees are barren in the foreground and while the fields follow behind in the background is all
green, the effect is somewhat a little over the top with some of the brownish color in the middle
having been faded over the time (metmuseum). The path

The Madonna Or Virgin Mary
The Madonna or Virgin Mary was a popular theme for many Middle Age and Renaissance period
artists. I will be writing with a view of exploring the following pieces. The first is Madonna
Enthroned with Angels and Prophets. [Fig 1] This work was by a prominent artist named Cimabue,
or Cenni di Pepo, and was created in Florence, Italy. It is believed to have been done in the Middle
Ages from 1280–1290 A.D. and the medium is tempura on wood. At dimensions of 12'7" X 7'4" it is
quite large and is currently on display in the Uffizi Gallery in Florence, Italy. As is implied by its
title, the subject matter of this piece is the Virgin Mary and Christ. The second work is The
Madonna of the Pinks [Fig 2] by Raphael. Raphael was also a prominent artist of his time, and has
often been compared to Leonardo and Michelangelo. This work of oil paint on yew, or fruitwood,
was created during the High Renaissance circa 1506–7 A.D. Also created in Florence, Italy, it is a
small work, measuring just 27.9 cm X 22.4cm, currently housed as The National Gallery in London.
The subject matter of this piece is also that of the Virgin Mary and Christ. Both of these works are
excellent examples of why their artists are considered among the greatest of their respective time
periods.
Madonna Enthroned with Angels and Prophets is a Byzantine style and reflects this in its highly
stylized form of depicting the characters. The figure of The Madonna especially holds to this style in
its elongated,

Who Is Giotto A Hero
What would you do if you were asked by the pope to prove your artistic skills? You could send him
a portfolio of your best work. You could list all the honors you have received. Or you could make
yourself stand out much like Giotto Di Bondone. Giotto did something very distinct to express his
talents, he drew a perfect circle. Many consider Giotto De Bondone to be the father of Renaissance
for his contribution to the art world. Giotto's Madonna and child reflects a time when artists were
initiating a return to naturalism through beauty and harmony and stepping away from tradition by
emphasizing figurative realism.
Giotto's the Madonna and child was created between 1310 and 1315 as a central part of a polyptych
commissioned by the church

Madonna And Child Enthroned With Angels And Saints
In comparing Madonna and Child Enthroned With Angels and Saints by Taddeo Gaddi made in
1355 and The San Giobbe altarpiece by Giovanni Bellini made in 1480, Gaddi's piece of work
shows Mary and Child with two saints giving gifts and four kneeling saints that offer flowers.
Bellini's painting presents two angels as musicians surrounded by six saints. Although both
paintings have identical subject matter, both masterpieces demonstrate different techniques and
styles. In addition to the similar subject matter, the compositions of the two works of art are very
well balanced and symmetrical. Both pieces have the same focal point in the paintings. They
amplify this by choosing Mary to be in the center sitting on a throne with a bright blue robe.

Duccio di Buoninsegna's Madonna and Child
"The Met's very own Mona Lisa" (Tomkins 9). That is what Duccio di Buoninsegna's Madonna and
Child painting is known as today. "The Metropolitan Museum of Art bought the Madonna and Child
for forty–five to fifty million dollars" (Tomkins 1). However, the painting was not always in public
hands; in fact, the Met purchased the last known work of Duccio in private hands. Originally, the
painting was held in the private hands of Adolphe Stoclet and his wife. When the couple died, their
house and their collection went to their son, Jacques who held onto the painting, and passed it down
to his daughters who lent it to an exhibition in Siena of Duccio and his school. The painting was
eventually withdrawn from the exhibition and sold ... Show more content on Helpwriting.net ...
Also the crisp outlines of the jewel–colored shapes created by their clothing as well as the continuity
of folds and gestures, creates a rhythmic pattern crisscrossing the surface showing the element of
design (Stubblebine). The imagery in Madonna and Child is displayed in how the artist expresses
himself, and how the artwork communicates with the viewer. The artist expresses himself in that the
work is symbolic. It is symbolic in that it depicts the sacred realm and the account of Mary and the
Child it also emphasized the thirteenth century devotional practice on experiencing the sacred
figures as real (Stokstad 259). In addition, the work was created within a structured stylistic context
of devotional images and icons, and was not created as a personal expression. The Madonna and
Child painting communicates with the viewer, in that the sense of human interaction convinces the
viewer that the two figures exist in real space and time (Tomkins 3) and the intimate interaction
between the Child and the Madonna evokes a human response from the viewer. Duccio explored the
world of sentiment and empathetic emotional response with a lyricism and sensitivity to color. Some
examples of this is the tender gesture of the Child, the distant glaze of the Virgin, yet deeply moving
expression, the use of drapery folds to describe the forms of the

Naturalism And Realism In Fisher Folk, Madonna And Child
There are many different factors to consider when analyzing a piece of artwork such as the color
pallette used, the materials used, the medium of the work, the artist, the time period it was made in,
and so much more. Naturalism and idealism are two concepts, of many, that are important
throughout the evolution of art. Naturalism refers to the representation of objects in their most
realistic form. On the contrary, idealism attempts to hold the subject to a certain standard of
perfection. Fisher Folk, undated, and Madonna and Child, finished in 1438, are two works of art that
embody those two concepts very well.
During a first level iconographic observation of Fisher Folk we see three people off to the right side
of the painting. Two older women and a younger child are in the middle of an exchange for some
fish. All three are dressed in multiple layers of ragged clothing trying to keep warm. With the
landscape being overcast it makes the painting feel cold because we automatically associate gloomy
skies with cold and rain. By portraying the clothes in poor condition, the artist is representing
naturalism because nothing about them looks ideal or something that people would be envious over.
The child is without shoes, so that's another sign that the family is poor. Naturalistic artwork strives
to show the subject in the most realistic way possible. As the UMFA label states, his work expresses
the reality of fishermen's families lifestyle in the 19th century. At a closer look,

Madonna and Child is a Common Representation in Christian Art
The iconographic representation of the Madonna and Child is one of the most common
representations in Christian art. The term "icon" in this context is a reference to a holy image to
which special veneration is given. While many works by many artists depict this subject, through
their various differences we can chart a change in artistic as well as Christian ideals through the
13th–15th centuries. During this period artists and scholars broke from Medieval thought,
philosophy and representations in art and began to embrace the ideas of humanism. From Giotto's
early renaissance interpretation of The Madonna and Child, to Domenico Veneziano and finally
Hans Memling's Flemish rendition we can see how technique, interpretation and styles changed
through the renaissance.
Today, a work that shows the Virgin holding the infant Christ is referred to as a "Madonna and
Child" however, this implies that the subjects have equal iconographical weight. In Renaissance
documents, as well as in modern Italian, the works are often simply refereed to as "The Madonna"
highlighting the Virgins iconographic supremacy. This can largely be attributed to the widespread
devotion to the Virgin at this time, especially considering her patronage to many of the most
artistically talented cities in Italy (Hope 1990).
Florentine Artist, Giotto's rendition of the Madonna and Child, painted between 1266 and 1337, a
central panel to a five–section polyptych, evidences a major turning point in Christian

Giuliano Bugiardini’s, Madonna and Child with St. John the...
Paper Assignment I
Throughout Europe, the Renaissance period had various effects on art which can be broken down
and seen from Southern (Italian) and Northern paintings. With the renaissance, came disinterest in
dogma, and more of a focus on naturalism and humanism. However, the strong influence of religion
never left either the Northern or Southern art works, due to the commission by the church. Giuliano
Bugiardini's, Madonna and Child with St. John the Baptist, 1510, is a pristine depiction of what
Southern European art during the renaissance contained, element by element. Northern artists kept
most their roots, focusing heavily on religion while enhancing on the details and adding few aspects
of naturalism; while Southern artists took ... Show more content on Helpwriting.net ...
John from a distance in real life. The shading and coloring give the viewers a realistic feel, while
also displaying an abstract story for the viewers' interpretation. These aspects are just two of the
techniques used that differentiated Southern and Northern artwork. The symmetrical appearance of
the work was also common in Southern pieces that rooted back to the Greek's advances in
mathematics, while the realistic human anatomy roots to the newly acquired humanistic values in
art. There is a clear focal point of Mary, with the addition of a subtle triangular composition created
by the Mary, Jesus, and St. John. This composition creates order, which is more appealing than a
painting with chaos and no clear focus. The trees and pathways in the background also seem to be
proportional to the sizes of the three characters, diminishing in size as the picture recedes. This
creates a visually appealing tone to the work of art, as for the brain does not have to atone for the
abstract and surreal. The bodies are realistically portrayed, which again, adds to the curiosity of
Southern artists had of true human anatomy. Mary has a figure, a popping bosom and stomach are
not typically seen in a depiction of her. Jesus and St. John both have noticeable baby fat around their
arms, legs, and stomach, which is unappealing for a piece of art, but is still

Madonna And Child Analysis
Portraits of the Madonna and Child depicting Mary holding the infant Christ provide a recurrent
image in art throughout the ages. In prevalent portrayals over the span of centuries, artists reflect a
wide diversity in their representations of the iconic duo. In particular, two works found in the
National Gallery of Ireland in the early Italian Renaissance gallery, The Virgin and Child, Saint John
the Baptist and Prophets by an unknown artist (1325–1450) and The Virgin and Child by Paolo
Uccello (1435–1440), highlight the transition between Byzantine and early Renaissance paintings of
the Madonna and Child, particularly in relation to subject matter, composition, material, style and
meaning. Although each of these paintings of the Madonna and Child depicts the same Christian
iconography of Mary and Jesus, their differences in composition and style influence their meaning,
with each painting reflecting the individual artist who painted it and the different time period during
which it was created.
The subject matter of both of these National Gallery of Ireland Madonna and Child works is
unmistakably Mary, who was assumed into heaven upon her death, and her son, Jesus Christ, born
free of original sin through the Immaculate Conception. A central icon of Christianity, Mary
traditionally exemplifies love, passion and devotion. As Mary represents universal motherhood, the
subject of the Madonna appeals to all people. Although both Madonna and Child paintings depict
Mary holding

St. Lucy Altarpiece: Madonna And Child By Domenico Veneziano
The work presented is St. Lucy Altarpiece, painted by Domenico Veneziano. It was created in
Florence ca. 1445–47 A.D. This composition of tempera on a roughly 6 x 7 foot wood panel
displays a horizontal scene of Madonna and Child with attending saints and bishops. Designed as an
altarpiece, with the intentions of its being displayed before the public, St. Lucy Altarpiece stresses
the importance of it's main characters; Madonna and Child. Veneziano stresses his motives of
bringing attention towards Madonna and Child by using physical light and darkness, space,
perspective, and even the subjects within the painting to communicate their importance. Within the
painting are six individuals. In the middle is Madonna and Child. To the left is Saint Francis and
John the Baptist, and to the right; Saint Zanobius, the Florence Patron, and Saint Lucy. These
individuals are equally placed in the foreground of the painting, bringing our attention right to them,
however there is a group of two that is the most important. If you look at the gestures of ... Show
more content on Helpwriting.net ...
The bright blue of Mary's robes ensnare our gaze. This vibrant color contrasts with the neutral tones
of browns, whites, greens, and reds. Combined these soft colors emanate a calm ambiance about the
painting. The robes of the figures, the Madonna's in particular are light, airy in a sense. Tri–tone
gives a sense of real fabric, and of movement underneath that fabric. Tri–tone and shadowing go
beyond the characters however. The architecture in the background expresses a realistic filtered
light. We detect an opening in the building by the presence of the tops of trees in the background,
and by the light that faintly falls on the face of Madonna. This gentle illumination, once again brings
our attention to the faces of Madonna and Child. In comparison, the saints in company are not
placed in such a light, figuratively and

Cimabue Painting The Madonna Enthroned
Through society had used art as a consideration for their religious beliefs and educated morals the
panting Madonna Enthroned has a traditional Christian subject, representing the Virgin Mary and
the Christ Child seated on her lap. This large painting is an extremely important landmark in art
history. Cimabue's painting of the Madonna Enthroned shows strong Byzantine Influence. The
throne is elaborate with no visible back support, and instead seems to rise upward denying the
material reality of it is weight. Furthermore, the Christ child is depicted with the proportions and
gestures of a man. The iconography is frequent in medieval painting and represents the Madonna
enthroned with child and angles all around them. In the lower part are four

Essay about A Comparison of Two Paintings from the...
A Comparison of Two Paintings from the Renaissance Period
Introduction 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 ... Show more content on Helpwriting.net ...
John the Baptist is also allowed to stand near the holy mother and child, and an angel is present.
Because of this, the viewer contends with a literal story rather than a simple image as in "Madonna
Enthroned". Also in Puligo's image, where the central figures are larger and better seen, there are
religious symbols used. The same might be true in Giotto's work but the details are harder to
distinguish.
Visual Form and Style The style and the form of these two paintings reflect the development of the
artistic techniques during the Italian Renaissance. While both reflect a Biblical theme with a central
focal point of the Madonna and Child, "Madonna Enthroned" has a key image that is best viewed
from a central position and "Madonna and Child..." has a greater degree of importance over the
majority of the surface of the canvas. In "Madonna and Child..." the viewer does not perceive that
an image is being forced upon them as is found in the work by Giotto. A use of light and space is
also key to preventing the Puligo piece from being "forced", where the organization of distance
visibly removes the viewer from "Madonna Enthroned" while drawing the viewer into the painting
in "Madonna and Child...". Color also serves a similar purpose, where Giotto's work is
monochromatic but ocher while Puligo's work carries a greater expression through the detail
involved. The mood of these two pieces is remarkable in that color does not play as great

A Comparison of Two Paintings from the Renaissance Period...
A Comparison of Two Paintings from the Renaissance Period
Introduction 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 ... Show more content on Helpwriting.net ...
While both reflect a Biblical theme with a central focal point of the Madonna and Child, "Madonna
Enthroned" has a key image that is best viewed from a central position and "Madonna and Child "
has a greater degree of importance over the majority of the surface of the canvas. In "Madonna and
Child " the viewer does not perceive that an image is being forced upon them as is found in the
work by Giotto. A use of light and space is also key to preventing the Puligo piece from being
"forced", where the organization of distance visibly removes the viewer from "Madonna Enthroned"
while drawing the viewer into the painting in "Madonna and Child ". Color also serves a similar
purpose, where Giotto's work is monochromatic but ocher while Puligo's work carries a greater
expression through the detail involved. The mood of these two pieces is remarkable in that color
does not play as great an importance as the figures surrounding the focal point of the Madonna and
Child. These figures are both essential to the composition of the piece, but in "Madonna Enthroned"
the viewer is left thinking that the Madonna and Child are truly untouchable. The mood of this
piece, while certainly not "dark", does not inspire any. Even the angels by either side are careful not
to come near the holy woman and child. In "Madonna and Child " however, the entire composition
is subject to

Comparing Madonna And Child On The Crescent Moon
Throughout history, there has been consistent production of images of the Virgin Mary, often with or
holding the baby Jesus. Though the subject matter has remained the same, the methods and
techniques of these depictions have been subject to change. Sculptures of the Renaissance featured
similar structural and visual elements, even when created in different countries, several years apart.
When Virgin and Child, a French sculpture from the 1300's, is compared to Madonna and Child on
the Crescent Moon, a German sculpture from the 1500's, techniques and elements typical of the
Renaissance are found in both. Virgin and Child, from the abbey church of Saint–Denis, is a French
sculpture that was created between 1324 and 1339, gifted to the abbey ... Show more content on
Helpwriting.net ...
The majority of similarities are found in their visual and formal structure due to the sculptures'
shared time period of the Renaissance. Virgin and Child and Madonna and Child on the Crescent
Moon are both representational and realistic, but neither of their realism goes far enough to become
naturalism. The use of the s–curve and the great attention that was given to crafting the small details
in the folds of the fabric of both sculptures is greatly indicative of the influence of the Renaissance.
The content and pose of the sculptures also share similarities. The most obvious lies in the subjects
of the sculpture: Mary holding the baby Jesus. In both sculptures, Jesus caresses his mother's face.
This act humanizes Mary and her child, and creates an emotional expression that was unusual for
religious sculptures created before that time. Though the objects depicted are not the same, the
sculptures include an additional element that is full of symbolism: the fleur de lys and a crescent
moon. The cultural and historical contexts of these pieces are where the differences between the two
returns. Virgin and Child was a religious sculpture intended for a religious space, and served an
additional purpose as a reliquary. Madonna and the Child on the Crescent Moon becomes the
opposite of Virgin and Child, serving as a haus–madonna, a religious sculpture intended

Cimabue vs. Giotto Di Bondone Essay
ASSIGNMENT #1– OPTION 4
ARTWORK
Giotto di Bondone, Madonna and Child Enthroned (ca. 1310), 10' 6"
Cimabue, Madonna and Child with Angels and Prophets (ca. 1280–1290), 12' 7" X 7' 4".
Madonna and Child with Angels and Prophets, an alter piece standing some 12 feet and 7 inches
tall, was created around 1280–1290 A.D. for the Church of Santa Trinità in Florence, Italy and is
now in the Galleria delgi Uffizi Florence. This iconographical piece was constructed through
tempera and gold leaf on wood by Cimabue, an Italian painter who brought classical tradition back
into art during the 13th century, when Italo–Byzantine style was dominant, paving the way for art in
the Renaissance period.
Madonna Enthroned, ... Show more content on Helpwriting.net ...
The structurally realistic nature of the stairs in Giotto's as compared to Cimabue's also shows the
progression of realism in art, using a more linear approach rather than a stylized concave approach.
Although the stairs are more naturalistic, the disagreeing side faces show an element in the other
direction, used to continue the symmetry shown throughout the piece, also present in its counterpart.
Cimabue's piece shows a linear formation of the surrounding figures, with both the angels and
prophets placed in straight lines. This opposes the realistically situated figures in Giotto's. Though
Cimabue's formation is linear, the postures and gestures of the figures in his piece are much more
fluid and graceful then those in Giotto's who are much more vertical. This absence of verticality in
figures shows the influence Gothic sculpture had on Cimabue's work. The figures in both show
isometric perspective, staying the same size regardless of depth into the imagery. The figures in
Giotto's also seem more grounded and have none of the floating qualities Cimabue's embodies in his
angels. This differentiates the stylistic and realistic natures of the pieces.
The subject in each representation is pretty clear to see through artistic elements used by their
artists. Emotion in these pieces is much more recognizable in the latter. Giotto shows angels
fawning at Madonna and her child, with all eyes on them and all arms in view reaching out to them.
Cimabue

Artemisia Gentileschi Madonna And Child
The bond between mother and child has been a constant theme in the world of the humanities.
While that bond has been the same throughout history, its portrayal in art has varied from decade to
decade. Two artists, Artemisia Gentileschi and Mary Cassatt, chose to create pieces based on this
bond, but the use of mediums and the influence from religion (or the lack thereof) help to
distinguish between the artists and their time periods. Artemisia Gentileschi's Madonna and Child,
was created during the Baroque Period, c. 1609 (Brash), when the Catholic Church was sponsoring
the arts to return to traditions Protestantism had disregarded (Baroque Artists). Created in Rome,
this painting shows the mother, Madonna, holding her child, the young ... Show more content on
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Even with the difference in periods of time, both women chose to paint a mother and child in a
tender moment. One, Artemisia's show the mother preparing to feed her young, while Mary Cassatt
chose to depict a mother's embrace. Both show the unity in the maternal bond. The mothers in each
of the images appears relaxed, content with her child. In Madonna and Child (Brash) , the mother's
face is serene as she looks down at her hungry child. Her body is relaxed and leaning in. In The
Young Mother ("The Young Mother"), the mother sits, with a slight smile, giving her the appearance
of bliss and contentment in the simple act of holding her child. The child in each painting is an older
baby, instead of a newborn, allowing the artists to show the child being old enough to hold himself
up and be aware of his surroundings. By doing this, the artists were able to show the connection
between the mother and child is mutual, that the child is aware of his mother's love in holding or
feeding, and feels love in return. both artists use light to spotlight the mother and child. While the
Baroque Period used bolder light and shadow (Baroque and the Age of Enlightenment 2.14), and
Impressionists focused more on the way light fell across surfaces (Gersh–Nesic), both utilized light
to call attention to the mother and child. Finally, both images focus on only the mother and child
with no other beings or distractions in the portraits. Doing this allows the viewer to become
immersed in the moment and the bond

The Virgin And Child: Morgan Madonna And Romanesque Art
The virgin and child is known as Morgan Madonna as well. The sculpture was made in the twelve
century and is Romanesque Art. The Morgan and child is a sculpture made out of painted wood that
was used to adorn church portals. It was made during the Romanesque period. Mary is as the throne
for Christ since she is seated on the throne. Any depiction of Mary with Jesus on her lap is known as
the thrown of wisdom. Christ's wisdom is depicted in his adult head and small body. Is figure was
used as a religious drama because of its context. Both of Jesus hands are missing but, it is assumed
that he might be blessing and with the other holding the book of the word of god since it's in a
church. Jesus represents the priesthood, humankind and god. Mary

Why Is Madonna Influenced?
Madonna Louise Ciccone was born on August 16, 1958 (O'Brien p.6). She has two older brothers,
one younger brother and two younger sisters (O'Brien p.6)Her older brothers loved to tease her and
she often told on things they did to her father (Morton p.33)Madonna got her first name from her
mother Madonna Sr. (Morton p.32). She was both a well behaved and difficult child one time being
told not to leave the yard and was upset and pushed another child down (Andersen p. 21). Madonna
was very close with her mother and dealt with loss at an early age. Madonna Sr. was diagnosed with
breast cancer in 1962, she felt her work as an X–ray technician contributed to her prognosis as they
really did not have precautions to limit radiation exposure. She was still breast–feeding Melanie
(Madonna's Youngest sister) so she chose to delay chemotherapy. Madonna Senior passed away
from cancer a year later Madonna was only five years of age (Gnojewski p. 25).
As a young woman she was greatly influenced by her ballet teacher Christopher Flynn. He
influenced her to graduate from high school a semester early and ... Show more content on
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She is a huge recording artist and has sold millions of albums, sold out many concerts, produced
some of the best and most controversial entertaining music videos. Starred in several movies some
fantastic and some just slightly entertaining. She has helped her eldest daughter Lola produce her
own clothing line. Helped with the release of her own skin care and makeup line. Written children's
books, and influenced the youth of today many of us that are adults now to believe and dream to be
something better. She has dated a variety of beautiful interesting men and influenced how we feel
about relationships. She has been a wonderful mother to her biological and adopted children
showing them all what love truly is. Madonna has fought her way from a moderate existence to be a

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