Christian Art Vilma C. Pena Columbia Southern University July 21, 2017 Art and religion theme Introduction –religious art works support moral message of religion. The art works purport to illustrate in context any set of human beliefs that they regard sacred, spiritual and divine. Religious art date as back as the Renaissance period. Religious themes were often commissioned by well to do patron including the pope. Religious artworks were among the best Renaissance art work. 2 Art and religion theme Introduction -Brief explanations of the theme and its elements using supporting facts. Close to a third of paintings in the national gallery of western European art are of religious subjects. The theme reflects that after classical antiquity religion became unanimous. The images made to inspire and strengthen faith through private and public devotion. Religious themes use elements of symbolism, narrative, ritual, iconoclasm, calligraphy and authorship in expressing tenets of beliefs through out history. Religion and spirituality has been a theme of art for many areas. Religious arts make use of motifs. Christianity for example illustrates various principles and narratives of religion. Christianity make use of elaborate iconographic systems, whereby each saint is associated with a particular object or animal. Example is saint peter with keys and depicted with a shamrock for audiences to covey the narrative. In India Buddhist art flourished, while Tibetan Buddhist was created as a meditation practice. An example of the meditation art is the sand mandala made and used by monks. Islamic art, on the other hand, prohibits representational images of religious art. The artworks comprise of calligraphic decorations and repetitive geometric patterns. Geographic patterns make up of non-figurative types of decorations in Islamic art. 3 Last supper Leonardo da Vinci 1495-1498 painting Artwork image (Goldscheider, 1959) Include citation 4 Visual Elements The angles and lighting draws attention to the centre of the composition The picture measures 15 feet by 29 feet The painting is a wet Fresco painting The painting provides for a linear perspective uses gesture Jesus is given a triangular shape illusions to the number three immaculate detail of still life Time and motion is included The picture depicts reaction of each of the disciples to the news declared by Jesus that one of them will betray him. The picture has a straightforward biblical interpretation. It is the first real example of high renaissance aesthetic. The angles and lighting draws attention to the centre of the composition. Position of Jesus at the vanishing point where all perspective lines meet. Artwork is heavy on the front with emphasis on the characters reaction to what was revealed by Jesus. The silhouettes have been delineated until an integral composite scheme was obtained. Double circular incisions used to delimit the outline of the wreaths Upper part of ...

1. Christian Art
Vilma C. Pena
Columbia Southern University
July 21, 2017
Art and religion theme
Introduction –religious art works support moral message of
religion. The art works purport to illustrate in context any set of
human beliefs that they regard sacred, spiritual and divine.
Religious art date as back as the Renaissance period. Religious
themes were often commissioned by well to do patron including
the pope. Religious artworks were among the best Renaissance
art work.
2
Art and religion theme
Introduction -Brief explanations of the theme and its elements
using supporting facts.
Close to a third of paintings in the national gallery of western
European art are of religious subjects. The theme reflects that
after classical antiquity religion became unanimous. The images
made to inspire and strengthen faith through private and public
devotion.
Religious themes use elements of symbolism, narrative, ritual,
iconoclasm, calligraphy and authorship in expressing tenets of
beliefs through out history.

2. Religion and spirituality has been a theme of art for many areas.
Religious arts make use of motifs.
Christianity for example illustrates various principles and
narratives of religion. Christianity make use of elaborate
iconographic systems, whereby each saint is associated with a
particular object or animal. Example is saint peter with keys and
depicted with a shamrock for audiences to covey the narrative.
In India Buddhist art flourished, while Tibetan Buddhist was
created as a meditation practice. An example of the meditation
art is the sand mandala made and used by monks.
Islamic art, on the other hand, prohibits representational images
of religious art. The artworks comprise of calligraphic
decorations and repetitive geometric patterns. Geographic
patterns make up of non-figurative types of decorations in
Islamic art.
3
Last supper
Leonardo da Vinci
1495-1498
painting
Artwork image
(Goldscheider, 1959)
Include citation
4

3. Visual Elements
The angles and lighting draws attention to the centre of the
composition
The picture measures 15 feet by 29 feet
The painting is a wet Fresco painting
The painting provides for a linear perspective
uses gesture
Jesus is given a triangular shape
illusions to the number three
immaculate detail of still life
Time and motion is included
The picture depicts reaction of each of the disciples to the news
declared by Jesus that one of them will betray him. The picture
has a straightforward biblical interpretation. It is the first real
example of high renaissance aesthetic.
The angles and lighting draws attention to the centre of the
composition. Position of Jesus at the vanishing point where all
perspective lines meet.
Artwork is heavy on the front with emphasis on the characters
reaction to what was revealed by Jesus.
The silhouettes have been delineated until an integral composite
scheme was obtained.
Double circular incisions used to delimit the outline of the
wreaths
Upper part of the fresco creates optical illusions of deeper row
of arches. Illustration explained by use of windows in each
lateral wall. Illumination used to give light and shade to the
room.
Parallelism creates distance between observer and perspective
plane- between the diagonal refectory and line running from the

4. eye of observer to vanishing point. Perspective is identical
The picture measures 15 feet by 29 feet occupying end wall of
the dinning hall at the covert of Santa Maria delle Grazie in
Milan.
Time and motion as the scene takes place at night with
characters placed in motion
The painting is a wet Fresco painting- Leonardo first sealed
stone surface and painted over it with tempera oils.
The painting provides for a linear perspective
Leonardo uses gestures.
Painting contains number of illusions to the number of three-
disciples seated in three, three windows that are rectangular in
shape. The rectangular shape is used a lot in his illustration
from the shape of the room to the sides of the room.
Jesus is given a triangular shape marked by his head and
outstretched arms.
All items portrayed immaculate detail of still life. One can
clearly make out the lace of the table cloth, transparent wine
glasses, pitchers of water.
5
Design Principles
Formal balance is dignified, stable, ,more static and
symmetrical
Informal balance is asymmetrical.
Fluctuations in humidity caused the painting to crumble off the
wall.
Schematic linear dispensation of actors
Various linear implied techniques.
The focal point is on Jesus the saviour as the events that happen
of the painting at geared at describing his manifestation.
The colour scheme is polychromatic
There’s a touch of mundane in details of feet, sandals and
intrications in facial musculature.
The painting is human and its in complete contrast to the serene

5. and expansive gesture
Protagonist occupies centre of composition, Christ isolation.
Repeat of windows on the background as well as the side
rectangular arches.
The characters are proportional t5o one another with each group
divided in threes
6
The last supper
Explanation of background
The painting depicts famously scene from Holy Thursday. Jesus
and his apostles share a final meal before his death and
resurrection. Jesus reveals the one to betray him. Vinci depicts
him as a spilling salt on the table as part of renaissance pun.
Leonardo was a renaissance man. The work began in 1495 and
was completed around 1498. the painting drama is heightened
by composition and details. Each figure is unique and
memorable down to the smallest of details. The last supper is
the most reproduced paintings in the world.
The room terminates at the three windows with a beautiful
landscape. The landscape in the background terminates in a kind
of misty, greyish horizon. Colours become more dull and
colourless- aerial perspective. Renaissance artist create illusion
of depth in landscape scenes. The painting shows a rectangular
room with coffers on the ceiling and tapestries on either side of
the room.
7

6. 2. Nozze di cana
Paolo Veronese
1563
painting
Artwork image
(Hanson, 2010).
Include citation
8
Visual Elements
The Louvre Museum in Paris houses the impressive painting of
Paolo Veronese. The formal 70 squared meter art training
contemplates aesthetic and technical element.
Of the 130 figures, only Jesus is surrounded by a pale glow.
Contemporary costumes
Luminous colors-yellow-orange, vivid red and lapis lazuli
contribute in individualization of figures
Two sections of composition
Blue sky signifying day time scene-the painting contains ultra-
marine in great quantities even in large areas
Terrestrial section bustling crowd
Implied shape could be rectangular. It is shaped in separate
sections in rectangular fashion
He developed quiet drama through creation of pensive mood
which tinged wealth with certain melancholy.

7. Veronese dynamic arrangement of the planes to make
unequivocal Palladian with a background of clear sky opening
up the walls and carefully orchestrated movement of groups of
figures, whole bathed in triumphant luminous hues.
9
Design Principles
The painting clearly shows symmetrical balance through its
entirety people are dispersed in an equal manner.
Building are also proportional
The painting an asymmetric and unnatural elegance
Emphasis of painting is on the front part, through variety of
different unique colors portrayed by people at the event.
He uses boxes to highlight various scenes or groupings
Details in the painting is staggering
Geometric lines arrange in sharply red.
The focal point is at the gathering with Jesus.
The characters are proportional to one another spreading across
the entirety.
10
Nozze di cana

8. Explanation of background
The landscape in the background terminates in a kind of misty,
blue sky covered in day time clouds. Colours become more dull
and colourless- aerial perspective. Renaissance artist create
illusion of depth in landscape scenes.
He effectively uses color to blend into the horizon with a good
dimensional representation of birds from a distance. He also
captures a structure unanimous during the renaissance period of
architecture.
11
3. Sistine Chapel ceiling
Michelangelo
1508-1512
painting
Artwork image
(Seymour, 1972).
Include citation
12
Visual Elements

9. Michelangelo’s Frescoes ceiling of the Sistine chapel is one
great example of renaissance painting
Uses over 300 figures depicting stories of the book of Genesis
Uses bright colors of the frescoes
Color throughout is calculated to enhance total sense of
structure-ceiling dominated with soft grey and whitish tones of
the stimulated marbles and grey-blue for the sky
Separated into 33 areas with different scenes
In the triangular spaces he panels ancestors of Christ
Figures of second section are grander than those in the first
depicting drunkenness of Noah
The skin tones of the figures are pale peach and robes painted in
pale pastels.
Glowing ball lighting the whole image.
Much of the work is moving –image of disaster and love of a
father holding his drowned son
The first section contains sharp discrepancies in scale between
large figures that crowd within them-there’s little sense of unity
in design among various components of the entire painting.
He integrates elements closely moving observers eye from one
to the other in the west end above the altar- one for the prophets
another seated nudes, bronze colored nudes and the scenes in
the central of the rectangles and the corner spandrels.
He maintains a diagonal motion of scenes to the next from the
scenes to the nudes across intervening barriers.
13
Design Principles

10. The painting is separated into different segments by use of
rectangles
The painting has a symmetrical balance on its entirety.
Blended frescoes colors are preferred rather than oil paints,
creating figures with clear outline
The chapel was painted with bright colors that daringly
harmonize
Various story lines give the painting a variety impression to the
viewers.
He understood human forms and was beautifully entity that
should be naked or wearing a simple robe
He had a keen eye for light and shadows grasped in both shape
and volume
Each segment was symmetric with emphasis on the human forms
through the narrative portrayal
Certain scenes were divided unequally in the segments like in
creation of the sun, moon and plants.
Use of contrasting images into one panel, that of adam and eve
expulsion and temptation
Repetition is used in separating the various paintings in their
triangles-two human forms are used across.
14
3. Artwork Title
Explanation of background
Originally the ceiling was painted blue and covered with golden
stars.
The various segments were from various scenes in the old
testament. Warm colors were used in the background. With
emphasis on the front storyline.
Renaissance painting used bright colors to its narratives. He

11. created monumental figures that embody both strength and
beauty.
Blue skies with clouds for example were use to represent the
expulsion of Adam and Eve from the garden of Eden in day
light. Clear white color for the creation of man by god. Less
figurative colours and emphasis was used for the background
with less activity happening but emphasis put on the human
forms to narrate the scenes.
15
4. Disputation of the Holy Sacrament
Raphael
1509-1511
painting
Artwork image
(INTeResTs, 2015)
Include citation
16

12. Visual Elements
The fresco painting is primarily eschatological
The use of bright colors is vivid throughout the painting to
bring out the human forms and also brightened figure of Christ.
He has created scenes spanning from both heaven and earth. The
painting guides the viewer’s eyes to the altar.
Dispensation of semi circular spaces like an apse, without walls
where two assemblies of equal size and dignity reflect and
debate on nature of Christ.
Raphael crossed through horizontal line of saints and vertical
line of the father, son and holy sprit.
He creates lights and shadows with tones of a single color and
combines color in a dramatic way. Color plays important role in
giving sense of depth and space saturated color in the bottom
level to the top leading viewing from earth towards the heavens
level of color intensity distinguishes individuals, clouds and the
courtyard being more intense while background and blue sky is
more dull in comparison.
The centre is a series of concentric circles covering the whole
fresco.
The painting texture is tender and visualizes clarity.
The lines give idealistic impression that fresco painting
dividing it into 3sections-line usage on the top 2 layers are
defined by clouds while those at the background landscapes in
the horizon used to define earth sections.
Usage and placement of lines gives painting volume and sense
of space-top two cloud lines are placed in an organic, circular
shape. Given in 3D spherical environment. half circular shape
of canvas compliment impressions
Shapes and forms come in all variety heaven dominated with
organic shapes excessive usage of clouds while geometric
shapes populates earth sections usage of courtyard and the altar.

13. 17
Design Principles
Structure of composition is characterized by extreme clarity and
simplicity
Sketches and drawings contain notable difference in pose
Degree of admirable balance and expressive dignity
Various linear implied techniques.
Concentric circles of the two worlds are used to bring the
contrast of the two scenes-heaven and earth.
The colour scheme is polychromatic
There’s a touch of mundane in details of feet, sandals and
intrications in facial musculature.
The focal point is established on the heavens with the holy
trinity
The balance is symmetrical across the entire painting
Painting guides the viewer’s eyes to the altar from the bottom to
the top.
18
4. Disputation of the Holy Sacrament
Explanation of background using facts
The landscape in the background terminates in a kind of misty,
blue sky covered in day time clouds. Colours become more dull
and colourless- aerial perspective. Renaissance artist create
illusion of depth in landscape scenes. Lush green landscaped
horizons for the earth surfaces. The heavens are shown with use
of blue skies symbolic of magnificence.

14. 5. Christ crucified
Diego Velázquez
1632
painting
Artwork image
(Tiffany, 2012).
Include citation
20
Visual Elements
The work painted in oil on canvas renders texture and fabric
without need for further adornment or ornamentation.
Painting is marked with confrontational naturalism.
Stunning still life elements
Sober terracotta tones.
Tranquillity and idealistic features of Christ’s body
Renaissance is seen in use of chiaroscuro.
Rectangular shape and triangular shape use on the crucifix
Glowing colors on the head on Christ to show his mighty being
The painting has no time setting as it is not accompanied with
neither landscape, nor sky nor metrological or prodigious
phenomena.
The texture invites silence and meditation.
Progressive diminishing tension towards transcendent.

15. 21
Design Principles
Influence of classism in the work is shown by the overall
calmness of the body its posture and idealism. A symmetrical
balance which allows arms to form a subtle curve instead of a
triangle.
Dramatic tenebrism focuses all attention on the pale body.
The composition is starkly simple yet vivid contrast between the
dark background and the white body
Emphasis is on the mood brought about by the painting with is
empathy and spiritualism.
A symmetrical balance triangle descends from this core giving
it a hint of grandeur
The focal point is on the saviour
The artist scale proportion is evenly from the arms to the legs.
The path taken by the eye is linear from the bottom to the top of
the human form.
22
5. Christ crucified
Explanation of background using facts
Painting shows the form of an erect Christ with both feet nailed
to a foot rest on the cross against a dark background which
depicts mystery of incarnation and provides respectful veil of
death.

16. Formal Art Criticism Theories
Art criticism responds to , interpreting meaning and making
critical judgement about specific works of art.
Journalistic criticism will be best to describe this type of
gallery artworks. They are exhibited in galleries and museums
and have complex narratives and techniques applied.
Interpretations are persuasive arguments. Some interpretations
are better than others
Objects of interpretation are artworks not the artist
Interpretations are not absolutely right but convincing,
enlightening and informative.
Theory for example in the wedding at Cana is subjective to
explaining what is happening in the environment. Crowds could
be a sign of a gathering or chaos but the mood and use of colors
integrated into the painting could help one know if the available
objects are significant.
24
Contextual Art Criticism Theory
This is theory that considers art as a product of culture and
value system. They pay attention to artist expression of a
personality or world view.
Artworks focus on artist’s life, his or her cultural, social,
economic and political conditions. The reactions are public and
critical to the work. The artworks used were of renaissance
period set back by the artists era. Contextual may be political
economic or social. The artworks chosen are all set on a
renaissance society of the European culture.

17. 25
Expressive Art Criticism Theories
Expressive theories attempts to discern personal elements in
works of art as opposed to formal strategies or cultural
influences
Such as use of in the Christ Crucifixion where Diego is more
experienced in detailing Human form and best expresses
artwork by use of the human framework.
26
Comprehensive Statement
Art seeks to please people with beauty. Art as the ability to
refresh the aesthetic feel of an idea or object.
Artworks have the ability to bring positive change-by giving
shape and voice to goals we’re striving to achieve
Challenges perspectives through innovative thinking.
Art pushes controversial buttons and inspire creative ideas
Artworks also record information for future reference.
Visual art has a great role in development of society through
community engagement
Cross-cultural understanding of different societies.
Creative solutions to social issues by being a protest tool and an
inciter of social change
Art criticism theories criticise context of aesthetics by
analysing and evaluating works more. Providing an interpretive
understanding of a particular work of art through a theoretical
perspective.

18. 27
Comprehensive Statement
Religious artworks is artistic imagery using religious
inspiration and motifs. Certain religions have rules pertaining
circumscribing the type of art work. For example in Muslim a
sculpture of Mohammad will be regarded as blasphemy rather
than a piece of religious art. Religious sculpture, painting and
architecture recognize moral narrative for the sacred “quality”(
Honour & Fleming, 2010)
Common types of religious art include:
The Egyptian pyramids
Stonehenge stone circle
The Gothic cathedrals
Taj Mahaj
Decorative art incorporates calligraphy, crafts, icons,
manuscripts, metalwork and wood carvings.
28
Comprehensive Statement
High percentage of works on this theme reflect the classical
tranquillity of sacred and moral values. Artists and their
advisors face challenges of suggesting visual terms of spiritual
mysteries. Such as visions profound in theological beliefs and
debates. Images inspire and strengthen faith through public and
private devotion. Galleries continue to be active in providing
relationship between art and religion. They provide powerful

19. narratives and beauty in their execution.
29
References
Goldscheider, L. (Ed.). (1959). Leonardo da Vinci: life and
work, paintings and drawings. Phaidon Press.
Hanson, K. H. (2010). The Language of the Banquet:
Reconsidering Paolo Veronese’s Wedding at Cana. Invisible
Culture Journal, (14).
Honour, H., & Fleming, J. (2010). The visual arts: A history.
Pearson Education.
INTeResTs, D. O. (2015). Foot deformities in Renaissance
paintings. A mystery of symbolism, artistic licence, illusion and
true representation in five renowned Renaissance painters. JR
Coll Physicians Edinb, 45, 289-97.
Seymour, C. (Ed.). (1972). Michelangelo, the Sistine Chapel
ceiling: illustrations, introductory essays, backgrounds and
sources, critical essays (Vol. 1). WW Norton & Company.
Tiffany, T. J. (2012). Diego Velázquez's Early Paintings and the
Culture of Seventeenth-century Seville. Penn State Press.
Unit V Assignment
Art Gallery: Critique
For Unit V of the art gallery presentation, you will again be
adding to your PowerPoint presentation.
For this segment, you will be adding a critique of your gallery
pieces and explaining how and if they fit into each of the art
criticism theories discussed in this course. Art Criticism
theories (formal, contextual, and expressive) help art historians

20. and critics categorize art. An artwork will not represent a
theory, but a theory can lead to a better understanding of the
artwork.
Begin by reviewing your Unit IV feedback and making any
necessary revisions.
Next, research the three art criticism theories listed in Chapter 5
of your textbook and the Unit V Lesson. Be sure to use APA
format.
Use the template slides labeled “Art Criticism Theories.”
Complete three (3) slides, one for each of the art criticism
theories: formal, contextual, and expressive
For each slide, address the following:
Describe the art criticism theory.
Tell why you feel this theory is the best fit for the artwork.
Tell how the theory explains one of your gallery artworks.
Explain how the purpose and structure of the work relate to this
theory.
Please submit your full presentation thus far, which should
include the previous updated segments and the segment for this
unit.