The Triptych Summary

The Triptych Summary
In the catalytic egg article, speculative chemistry was not a religions attempt but rather all the
reasonable, true blue exploration of refining, whose research center strategies shape the premise of
present day science. it was certain that the point and relationship of Bosch's most striking work, the
gathered garden of regular satisfactions triptych, looks to some degree like a fundamental reactant
moral story that disentangles refining as the rehashing creation, decimation, and revival of the world
and its tenants. The substitute extremes were stood out from Adam and Eve in the garden of Eden,
who were joined by Christ as a conclusive pro and specialist. The second step was the growth of
Adam and Eve into the all inclusive community of the world, contrasting with the dynamic
unification of the four segments into a balanced, whole body. By then came organize three, the
troublesome "cleaning" process, or ruining and obscuring of the arrays of the gatekeepers and their
adolescents, accomplished by hearing the scientific expert's fixings in the most smoking fire
possible. It was symbolized by torment, mutilation, and segment of the converse segments
heretofore taken part in "marriage," and Bosch painted his version of it on the third leading group of
the triptych, depicting the most despicable scene of hellfire, torment, and immolation anytime
realized by the human inventive vitality.
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St. Martin Of Tours Dividing His Cloak Analysis
David Cox Form IV– Art History Father Gregory Schweers, O. Cist. 10/26/16 St. Martin of Tours
Dividing His Cloak with a Beggar Ambrogio Lorenzetti Middle ages and Early Renaissance St.
Martin of Tours Dividing His Cloak with a Beggar by Ambrogio Lorenzetti St. Martin of Tours
Dividing His Cloak with a Beggar is a painting that portraits the story of St. Martin, a wealthy
soldier, giving a part of his cloak to a cold beggar in the winter. A famous Italian painter, Ambrogio
Lorenzetti, painted this. This work of art was painted roughly in the year 1340. The painting is still
around today with almost no damage done to it. It is currently held in the Yale Art Gallery, along
with many other Italian paintings. This painting used to be a part of a triptych. This means that it
was a part of three paintings that were meant to be seen all at once. The triptych showed the Virgin
and Child, and The Charity of St. Nicholas of Bari. ... Show more content on Helpwriting.net ...
When I first saw this painting I noticed that St. Martin's armor stands out the most. I think that
Lorenzetti might have done this to show us how nice and elegant St. Martin is, compared to the
beggar, who is wearing almost nothing. His armor has many different shapes and textures on it
making it stand out more than anything else. Another reason why it stands out is because Lorenzetti
made the rest of the painting kind of dark. He might have done this to emphasize the weather
conditions, or he might have done it to emphasize the colors of St. Martin's

Who Is Jeffrey Jones's Merode Altarpiece?
Museum Essay– Merode Altarpiece
Jeffrey Jones The Merode Altarpiece is a triptych painting that depicts a scene in which the angel
Gabriel appears before the Virgin Mary to inform her that she will be the mother of Jesus. In the
middle panel of the triptych, Gabriel is seen just entering room to speak to Mary. Through a window
on the left side of the room, a ray of light shines through, revealing a small figure carrying a cross
above Gabriel. On the right panel, Joseph, the fiancé of Mary, is seen drilling holes into a board in
his workshop. According to the writings of Saint Augustine, the mousetraps and the open window in
the painting are thought to be an allusion referring to the cross as the devil's mousetrap [1]. On the
left panel, the paintings donor is seen kneeling outside of the door with which the middle panel takes
place. Later on, presumably after the donor was married, his wife and the messenger seen in the
background were also added to the panel. The setting with which the Merode altarpiece depicts sets
it aside from that of many other Early Renaissance paintings. Traditionally, the setting of most
Gothic and Early Renaissance paintings was within a church or palace set on a gold background.
Campin and his assistants however went with a ... Show more content on Helpwriting.net ...
Breaking away from the typical aristocratic and romantic moods of the Gothic international style,
Campin sought to humanize his subjects. Campin's rendering of his figures and the texture of the
clothing they wear is extremely lifelike in appearance. The furniture in room is finely crafted with
extremely close attention to detail. Gothic era paintings usually incorporated a golden background to
emphasize to the radiance of holy light. Campin had originally covered the window in the
background with a golden leaf but ultimately added blue skies and the town's skyline lying outside
the window for added

Of The Closed Triptych Bosch On The Garden Of Earthly...
Christ bursts into the tax collection office and impels Matthew to follow him. Matthew, who holds
his right hand to his chest and has a star, will become one of his most faithful disciples, and author
of one of the Gospels. The work has a great environmental value and among its characters appears
the painter, who had been a slave of Velázquez. We see him on the left, looking proudly at the
spectator and holding a paper with his signature on his right hand. The Garden of Earthly Delights
(Bosch) The Garden of Delights is a complex creation by Bach. In the closed triptych Bosch
reproduced the third day of the Creation of the world, when the waters of the earth separated and the
earthly Paradise was created. Above, to the left, God the Father ... Show more content on
Helpwriting.net ...
There are six concerts that were accompanied by a letter from Bach, dated March 24, 1721,
addressed to the Margrave in which he asks for a job. The Palace of Versailles (Arquitecture) The
French king Louis fourteen built the Palace of Versailles to keep his nobles and his government
officials under his control. Versailles became the European symbol of absolutism. The palace is
located about 18 kilometers southwest of Paris. Originally it was a small hunting lodge of the royal
family, which Luis fourteen transformed into the golden cage. Galileo (Scientist) Galileo was the
pioneer of the experimental scientific method and the first to use a telescope, with which he made
important astronomical discoveries. Galileo learned about the invention of the telescope in Holland,
and proposed an improvement of the model, with which he made a series of discoveries such as the
moons of the planet Jupiter and the phases of Venus, similar to those observed on the

The North Netherlandish Painter Hieronymus Bosch As The...
The North–Netherlandish painter Hieronymus Bosch was considered as the most enigmatic artist of
his epoch. According to an earlier Spanish writer, Don Felipe de Guevara, who reports that Bosch
painted bizarre and wondrous figures because his themes were so often focus on Hell but that he
executed even these creatures with decorum and good judgment. Bosch blends his innovative
aesthetic principles into his religious paintings, this could tell in two perspectives: firstly, Bosch's
works presented with them with an astonishingly new version of religious subject matter that
mirrored the haunting obsessions of the inner man; second, the numerous imitations and travesties
of his pious works that were considered authentic or reliable copies of his paintings had, in fact,
only obscured and perverted the true meaning of his are and misled critics in interpreting his
religious sentiment. It earned him the reputation of a bizarre visionary. The famous Italian
Renaissance painter Sandro Botticelli had visualized the funnel–shaped hell in 1480~1490
according to Dante's depiction of the Inferno in the Divina Commedia, yet in the following decade,
Hieronymus Bosch rendered the foreign hermeneutic text in a different way by his brush. Bosch was
from a well–off family, which released him from the bond of commission, he was not relying on his
paintings to earn a living; therefore, Bosch could freely express his ideas on the panel without any
restraints. As a Netherlandish painter who

The Garden Of Earthly Delights
Hieronymous Bosch's 16th century triptych, The Garden of Earthly Delights, is a heavily discussed
image among scholars. Because of the obscure nature of the painting and its subjects, especially so
in the context of the painting's time period, interpretations and analyses of the image are widespread.
Common interpretations of the piece include that the image is a symbolic warning against shame
and sin, a warning against woman's temptations, the rebirth of a joyous world, and the Garden as a
'Paradise Lost'. In the 15th and 16th centuries, there were various controversies surrounding the
papacy of the Catholic Church, as well as other matters of Catholic corruption, which would
eventually lead to the reformation. Expectedly, an unsophisticated symbolic analysis of the painting
may lead one to interpret the image as a representation of the 'Final Judgment', which is plausible
given this context of Bosch's time period. Because of religious conflict and turmoil, people were
likely confused and fearful of literal apocalyptic consequences. A more sophisticated allegorical
analysis of the piece is instead revealing of Bosch's conceptual interpretation of the world and
reality itself. The title suggests the piece contains 'earthly delights', yet the absence of any man–like
items suggests that Bosch's painting was instead metaphorically symbolic in its iconographic
depictions. The center panel should thus be interpreted allegorically in order to decode Bosch's
conceptual

Hieronymus Bosch : The Seven Deadly Sins And The Last Four...
Hieronymus Bosch was born in the Dutch municipality of 's Hertognebosch, between 1450 and
1455. His exact date of birth is unknown. He spent most of his life in his hometown, and that his
father, grandfather, and most of his uncles were also painters. He was an orthodox Catholic and a
member of a religious brotherhood. Most characteristics of his paintings are so bizarre, that in the
17th century Bosch was said to have been a heretic. He died on August 9, 1516 in Habsburg,
Netherlands. We will examine three paintings by Hieronymus Bosch: The Seven Deadly Sins and
the Last Four Things, The Garden of Earthly Delights and The Haywain.
Bosch worked in oil on a readied white ground on wooden boards. A draw in dark chalk would be
overshadowed ... Show more content on Helpwriting.net ...
Counterclockwise is Superbia (pride), an elegant woman in a home interior inspects her looks in a
mirror with the aid of a demon. A typical scene, there may be a casket of jewels at the floor, and a
vase of flowers close to the window. Notice the apple on the windowsill. It could symbolize the sin
of Eve. Next Luxuria (Lust). Two pairs of lovers hang out inside the tent. Outside a jester is hit with
a huge spoon. Musical instruments muddle the foreground. In Accidia (Sloth) a person, probably a
monk in his study is asleep. A nun offers him a rosary. The candle, which while lit, represents the
presence of God is extinguished. Here is a person is too lazy to invite the presence of God. Gula
(Gluttony) is a gross scene of over indulgence. A fat guy gorges himself at the desk, even as his fat
spouse brings yet more food. At the right of the desk a person guzzles wine straight out of the jug.
The house is a mess, and the fat child's potty–chair is visible inside the foreground, displaying us the
result of this over indulgence. In Avaricia (Greed) a corrupt judge takes a bribe from a wealth
person, and in Invidia (Envy) we see a man at a customs house collecting taxes. He withholds a
bone from two puppies, as he stands among a rich guy holding a falcon, and a pretty female. A
person laboring below the heavy burden of a sack, casts an envious glance at the rich guy. Inside the
roundel of Hell, the seven deadly sins are labeled, and the sinners are chastised. A toad

The Horrors Of Historical Events
Through art, the problems we face, the history we experience, and the details of our surroundings
become encapsulated within a larger narrative for others to view and experience. The creation of art
deals a great deal not only with the emotions of an individual, but also the audience the piece is
directed at and the points it desires to make. Anselm Kiefer, a neoclassicist artist who was born at
the tail end of World War II, made large paintings with a variety of included forms in order to
describe the horrors of historical events. His work "Burning Rods" serves as painting both to
acknowledge Chernobyl itself, but also to visually document the destruction its failure caused.
Within the 1900's, several periods of destruction ravaged ... Show more content on Helpwriting.net
...
"This moment in history was all about the threat of nuclear technology and its destructive powers,
but Kiefer saw that this technology had a fusing power as well and chose to use this in many of his
pieces during this time." He saw the technology as both a positive advancement within society with
its ability to create change and fuel society, however the destructive capabilities equally influenced
his work. He acknowledged the dangers of nuclear technology while reveling in the hope the same
advancements created, studying the multifaceted narrative of the advancement within his paintings.
The destruction of the Chernobyl Nuclear Power Plant, "...considered the largest nuclear accident in
the world, has had an enormous impact on the population and environment of many countries that
has yet to fully be known." This destruction reinforced his interest in nuclear technology, and
became the primary focus of one of his works, "Burning Rods". "Brennstäbe", the original German
title, which translates to fuel, caused the painting's name to be translated as "Fuel Rods", however,
the name was changed to "Burning Rods" in order to better match the theme of the painting. His
painting explores the influence of Chernobyl along with the power demonstrated within it. "This
power has the ability to be constructive as well as harmful in the world depending on how itis used."

Broederlam's Triptych Of The Virgin
The Dijon Altarpiece painted by Broederlam was commissioned by Phillip the bold intended for the
Chartreuse de Champmol the Carthusian monastery near Dijon. Bout's Triptych of the Virgin are
similar to Rogier Van der Weyden's composition. As altarpieces they are intended as prayer aids the
Dijon Altarpiece specifically for the Carthusian monks. The subject matter of both pieces are almost
identical. They both start with an annunciation scene, a visitation scene, and then the last two scenes
differ on each painting. Broederlam's last two scenes are the presentation of Jesus and the flight to
Egypt and Bout's are the nativity and the adoration of the Magi. The paintings use the same biblical
stories with almost identical poses in the annunciation, Mary on the left with a book just noticing
Gabriel approaching her in the room. The visitation Mary and Elizabeth standing with a winding
road and building in the background. Mary and Elizabeth ... Show more content on Helpwriting.net
...
Dorothy and the engraving of Master E.S. Large Virgin of Einsiedeln made it possible for all people
of different status to own art. It wasn't just for the wealthy anymore. Images were popular because
the masses were mostly illiterate. woodcuts were carved on blocks of wood to produce an image.
Artists had to think in reverse and in a subtractive method. when printed the carved areas stayed
white and the raised areas took the ink. images produced in this method tended to be flat and one
dimensional. Simple and heavy lines were probably the easiest to carve and ornamental patterns
were common. The engraving process is similar but with finer tools like a burin to get smaller
details, Master E. S. made use of crosshatching to create shading and he improved upon the way
human figures look, his prints were full of detail especially this particular print since it was the most
expensive of the set for the church. All prints were made for the masses but engraving gave prints
finer

Comparing Late Medieval Crucifixion Versus Renaissance
Duccio di Buoninsegna and his workshop differ from Joos van Cleve in numerous ways. Both artists
were influenced by the different works of their time. For instance Duccio lived and worked during
the time between Late Medieval art and Pre–Renaissance, which emphasized a change from merely
concealing the figures to making them more realistic than previous works of art. Joos van Cleve
resided in the Renaissance period, which was later than Duccio by over two hundred years, where
the act of making figures more lifelike with an increased amount of depth had been perfected. These
differences and similarities can be most clearly seen with Duccio's Triptych: the Crucifixion; the
Redeemer with Angels; Saint Nicholas; Saint Gregory ... Show more content on Helpwriting.net ...
The subject focuses on Christ's crucifixion, but figures exist beyond Christ performing their daily
modern activities in a semi countryside landscape and urban setting. Mary and John both stand in
contrapposto, balancing the majority of their weight on one leg (Figure 6). At the foot of the cross,
bones lie to represent death (Figure 7). There is balance in the picture with each side reflecting each
other symmetrically in scale. For instance, the tree in the midground on the left side is the same
height as the outcropping of stone on the right side. Mary and John are also a larger scale than Christ
and the figures in the midground and background. This involves the use of linear perspective, where
objects farther away seem smaller to the eye. The outlines of the figures are less blunt and more
realistic in this painting. A viewer can see this in the form of the drapery, which shows the forms of
the figures with a slight illusion of motion from an unknown source of wind. Christ's loin cloth
seems to flutter in the wind from both sides. The tension in John's drapery emphasizes his agitation,
while the thick folds of Mary's drapery demonstrates her grief over the loss of her son (MFA Label).
This can be seen through John's eyes looking up toward the body of Christ on the cross, and Mary
looking down at the bones at the base of the cross, which represent death. Joos van Cleve
emphasized the use of colors in place of atmospheric perspective, which makes

Christian Art: The Development Of Byzantine Art
While the Byzantine culture was expanding from new territory, so was the art depicting Christianity.
The development of the Christian art has been divided by Art historians into three periods based on
its greatest glory. This time period in art is sometimes referred to as "golden ages". The first period
from the "golden ages",Early Byzantine, began in 527 under the rule of Justinian. During this time,
the destruction of images used in religious worship, or iconoclasm, was enforced. The Early
Byzantine era ended in 726 with Leo III as the ruler. Then the Middle Byzantine Era begun during
843 and lasted until 1204 while iconoclasm was no longer enforced, but instead was seen as heresy.
The final Byzantine era, also known as, the Late Byzantine Era began after the recapture of
Constantinople in 1261 and finally ended during 1453.
During the Early Byzantine Era, Byzantine art by the emperor, Justinian, began as recognizable and
with a distinctive style, demolishing the unclear definitions of earlier Christian art. Also, carvings
with ivory were considered important forms of art. The majority of the finest examples date to this
time period. One of them being a plague carved ... Show more content on Helpwriting.net ...
The Byzantine land was being conquered, the Church of Rome eventually broke the Byzantine
Orthodox Church, and the Crusade brought reinforcements to fight for the Cross again the Saracens,
known as Muslims, in the Holy Land. Because of all these events taking place, the Byzantine culture
was crumbling, and their way of art was changing as well. During the 14th and 15th century, murals
and iconic paintings were competing to surpass works from the earlier periods. The Church of the
Christ in Chora obtains an example of the masterpieces in the form of a fresco in the side chapel of
the church. The painting itself depicted a biblical scene of Christ and the resurrection of Adam and

Summary Of The Triptych Melencome, And Knight, Death And...
The triptych Melencolia I (1514), St. Jerome in his Study (1514) and Knight, Death and the Devil
(1513) by Albrecht Dürer are allegoric copperplate engravings, known as the old master prints,
which embody the three spheres of human activity: the "intellectual", "theological" and "active"1.
Whereas the latter focused on the strengths of humanity through the figure of the 'knight', who
perseveres despite the threat 'death' and immorality pose to the mind, the former highlighted man's
hamartia in this conflict: our curiosity, for a level of knowledge akin to the divine, that first caused
humanity to fall in the Bible.
Similar to Knight, Death and the Devil, the setting for Melencolia I is separated into two worlds.
The background ... Show more content on Helpwriting.net ...
Jerome in his study is cut from the right: accentuated by the vanishing point's placement, between
the cut and saint– who appears absorbed by the room and his studies. Dürer's master print exhibits
"supreme manifestation of the... perspectivist's scientia"4 mirroring the saint's enthralled look into
creation with his own geometrical studies, creating depth and texture from his concentration of light
and hard lines in depictions of: shadows, objects and sunlight. Compared to Melencolia I's dark
atmosphere from an imbalance between thought and the corporeal world– the study's surroundings,
such as the cushions, implies a level of comfort associated with home–life. The patron saint of
humanism is Dürer's most depicted saint, due to his ties to the movement: in St. Jerome in his study
however his depiction also correlates with the first translation of Jerome's biography in German.
Despite this, the saint is not the focal point of the engraving, as Melencolia is: instead Dürer draws
attention towards the objects surrounding St. Jerome, emphasising the figure's self–imposed
isolation in his pursuit of knowledge. Biblical symbols can be interpreted from the gourd vine above
the study, referencing Jonah: "You had pity on the vine, for which you did no work and for the
growth of which you were not responsible"5. The passage mirrors Melencolia and St. Jerome's
characters: passive and

Erasmus: The Fool
The fifteenth and sixteenth centuries were ripe religious turmoil within the Catholic Church as many
had begun to question practices that had arisen over the centuries, which had focused more on the
material and physical devotion to God rather than a spiritual connection. It was a time of great
advancement in art and literature as Europe was entering the Renaissance and began to prosper both
economically and culturally. During this time humanists began to question teachings made by
Church officials in regards to everyday life and piety that one must follow a specific guideline in life
so as to enter heaven upon death. These humanists emphasized a focus on human form and the use
of reason to dictate their lives as they saw fit rather than ... Show more content on Helpwriting.net ...
In Praise of Folly, he writes that those who are "called religious or monks. Both names are false
since most of them are a long way removed from religion." It is from this carnal delight that people
are happiest and not Bosch's interpretation that this delight results in being condemned to hell. In
addition, Erasmus believes that no man was above these earthly desires, including religious men or
men of power, despite their best efforts to remove themselves from the 'lowly' desires of the
plebeians and

Giuseppe Domenico Scarlatti Research Paper
Giuseppe Domenico Scarlatti was an Italian composer who was born in Naples. In 1733, he moved
to Madrid, where he spent the remaining time of his life there and served Queen Maria Barbara. He
composed his 555 well–known keyboard sonatas for the queen during this period of time. These
pieces were mostly written to be played on the harpsichord or the early pianofortes. Although most
of the sonatas were composed in pairs, the D major sonatas, often performed together, formed a rare
triptych of three sonatas. Sonata in D Major, K.491 is the second piece of the triptych, which was
composed in 1756–1757. Similar to most of his other sonatas, Sonata in D major is in the binary
form (AB–AB). The structure in dance movements of the Baroque period is

The Garden Of Earthly Delights Analysis
The Garden of Earthly Delights is a triptych painting by Hieronymus Bosch created between the
years of 1503 to 1515. The painting is an iconic artwork of the Northern Renaissance art period.
Northern Renaissance, popular in northern Europe near the Alps, was influenced by the spread of
Italian Renaissance in the 16th century. Northern Renaissance artworks were dominate in religious
art that emphasize the importance of surface details. The Antwerp Mannerist, a group of anonymous
artists in Europe, had strong connections with the art style that appeared in Northern Renaissance.
Like most Northern Renaissance art, The Garden of Earthly Delights was painted based on
Christianity ideals. However, unlike most Northern Renaissance artworks that served as religious
works for churches and other religious rituals, The Garden of Earthly Delights was suggested to
serve the purpose in Bosch's interest. There is a possibility that this magnificent artwork was used to
illustrate the consequences of sensual pleasure. A major highlight of this artwork is the scene of
mankind ... Show more content on Helpwriting.net ...
The left–most panel illustrates the introduction of Eve to Adam in the Garden of Eden. God, dressed
in pink, stood between Adam and Eve while holding onto Eve's hand. Adam lies on the ground
while looking straight at Eve with curiosity in his eyes. A pond with a pink fountain sits behind the
three figures. Different animals filled up the image. The foreground is surrounded by small creatures
such as rabbits and weasels. In the middle ground, birds flew around and rest at the fountain. On the
right side of the large pond, black creatures are crawling out of the water towards a giant rock.
Mammals of all kinds stood behind the pond feeding and drink in the Garden of Eden. The
background depicts a chain of bluish mountain. A yellow hut stood at the upper left of the panel as
birds swirl in and out of the holes on the

Biography of Hieronymus Bosch
Hieronymus Bosch was born at the beginning of the Renaissance just after the end of the Dark Ages.
Bosch was born in the netherlandish city of Hertogenbosch. Hertogenbosch is where Bosch got his
last name. Bosch lived, grew up and died in Hertogenbosch. He never left the city, it is surprising
that his artwork became famous. Bosch came from a family of painters. His father, uncle, and
grandfather were all painters, unfortunately none of their works survived.
Bosch joined the Brotherhood of Our Lady, a local religious organization devoted to the Virgin
Mary, around 1486. Some of his first commissions came through the Brotherhood ,but
unfortunately, none of those works survived. He then married Alety Goyaerts den Meervenne. Her
family was wealthy so this union improved Bosch's social status.
Bosch's most famous painting is the Garden of Earthly Delight. It has amazing imagery and
exaggerations and also contained many vivid scenes. Few painters packed more detail into their
work than Hieronymus Bosch. The wings of Bosch's triptych open to reveal a color filled interior
bursting with strange architecture, unnatural landforms, and all types of hybrid creatures. In the
main part of the left hand panel, God the Father stands between the naked figures of Adam and Eve,
surrounded by various flora and fauna. This is the Garden of Eden, though the scene has a dark side.
In the distance, an animal tears at the flesh of his prey. Another one of Bosch's famous paintings was
the Last

Analysis Of Degenerate Art: Attack On Modern Art In Nazi...
Throughout the Degenerate Art: Attack on Modern Art in Nazi Germany, 1937, presented at the
Neue Galerie these past months, one is able to have a close look at the cold battle among the
German idealist artists versus the expressionist artists. The conflict between the two is caused by
their individualized concept of what modernity is at the beginning of the 20th century. By standing
in a gallery with both German classical art and degenerate art, degenerate being a synonym to
expressionist art used by Nazis, and having them beg for attention one can feel an unexplained
tension surrounding him. The most obvious contrast between the two ideals of modernity is
experienced in the "German vs Degenerate Art" and the "Dresden 1945: Karl Schmidt – Rottluff" ...
Show more content on Helpwriting.net ...
When present in the "German vs Degenerate Art" gallery, one can notice the effort put by the artists
who promote the idea of updated classical artworks in context of German political taste; and at times
this effort is just so obvious that it takes away from the painting itself. For instance, Udo Wendel's
The Art of Newspaper, 1939 and Adolf Wissel's The Sculptor August Waterbeck, 1932 are two
paintings that resemble the German ideal art, and both seems to loosen from its beauty due to the
immense effort placed by the artists to make it look more classical and more perfect than it already
is. Both paintings depict modern day people painted in a classical style, as close to perfection as it
can be done, and in both paintings there is an additional classical element as part of the composition,
either a greco sculpture or an art book open on the page of roman art. This forceful repeated element
of classical artworks within the already German classical painting prevents the viewer from thinking
of modernity in any other way. It puts the viewer in the perspective of seeing himself as part of a
perfect life, while pressures him to want to

The Dark Knight Film Analysis
Burning. Massive flames. A dark shape emerges. Growing. Filling the space with blackness.
Blinding light, moving over the towers of a city. The light closes in on the buildings, consuming
them, consuming you. Can't escape, can't breathe, completely overwhelmed. When suddenly you
hear "CUT!", and find yourself on a movie set, watching a scene that just get shot, back in the real
world. That feeling you experienced, surrendering yourself, your senses is called suspension of
disbelief. The willingness to suspend one's critical facilities and believe the unbelievable. This
disbelief is not in used in film but in art as well. The scene described above is from a piece called
London's Burning by Chris Sheldrake, but you would also see some of the same aesthetics in the
opening title sequence of The Dark Knight. All art forms feed of each other and by using three
movies and their corresponding pieces of art, I will illustrate the influence that each of these
individual images had on their respective films. How art inspires cinema.
The Dark Knight was the second entry in The Dark Knight Trilogy directed by Christopher Nolan.
He is an English film director, screenwriter, and producer. One of the highest–grossing directors in
history, and among the most acclaimed filmmakers in the 21st century. In a world where comic book
movies reign supreme, Nolan's work with Batman stands outs above the rest. He made a world
where somebody was willing to put on a cape and a mask believable by

Analysis Of The Garden Of Earthly Delights
Throughout our class I have been shown many astounding works of art that tantalize the eyes, mind
and soul. From the astounding sculptures of Michelangelo the the complex drawing of Da vinci and
countless other artist that changed the world of art, architecture and design. Though there was one
work that we came across in class recently that made me feel different compared to all the others
i've been shown. It was beautiful yet disgusting, heavenly yet sinister, and more than anything
compelling. I am referring to a triptych painting done by H. Bosch entitled ' Garden of Earthly
Delights'.
The picture immediately stood out from the rest somewhat having an uncanny modern feel to it. The
piece is a 3 panel painting, also known as a triptych, The Garden of Earthly Delights, oil on oak
panels, 220 cm × 389 cm with each section showing images of religion, damnation and over all
madness. I was instantly intrigued by what my eyes were taking in and then shortly after learning
about how there is so much mystery and uncertainty to the work only heightened this feeling. I was
hoping that looking the work up on my own time would be able to answer at least some of my many
questions; this was not the case. Solid factual information on the pieces is extremely limited
including the date of completion, the persons who commissioned it, the purpose for it being
commissioned, and most of all the meaning and message the piece was meant to inflict. The
accurate dating of The Garden of Earthly

Mérode Altarpiece Essay
The Mérode Altarpiece by the Master of Flémalle is an oil painting on 3 wooden panels whose
specific date of creation is likely between 1425 and 1430. This hinged triptych is relatively small in
size measuring slightly over 2 feet tall and about 4 feet wide with its two winged panels open. The
Mérode Altarpiece belongs to a group of paintings associated with a Tournai workshop led by
Robert Campin, also known as the Master of Flémalle, whose workshop fostered some of the
earliest and most outstanding painters who were pioneers of the new Flemish style. The Mérode
Altarpiece's central and largest panel depicts the Annunciation, when the angel Gabriel visited the
Virgin Mary to announce her pregnancy with Jesus. The right panel portrays Joseph in a workshop
setting while the left panel shows an image of the donors kneeling in a closed garden. Artwork of
this type was made primarily to serve as a visual reminder of scenes from the Bible, specifically ...
Through this he is able bring out God's divine and frequent presence, presenting it not in a highly
spiritual surrounding but instead in a setting of bourgeois realism. The Master of Flémalle is known
for his poetic representation of objects in daily life which is exemplified in the Mérode altarpiece,
specifically in the central panel portraying the Annunciation. The Master of Flémalle used these
types of scenes to represent how God's power and presence, symbolized in the painting by Mary's
virginity and purity, God's ability to assume human form, Jesus's crucifixion, and God's trap for the
devil, exists in the seemingly hidden symbols that are present in everyday life. This kind of thinking
grew out of the influences of early Northern Renaissance ideals which stressed art and humanistic
values and marked the transition from the prevailing international gothic

Mérode Altarpiece (Triptych of the Annunciation) by Robert...
Art is everywhere; from architecture to sculptures, paintings, pictures and even flower gardens.
There are many styles and techniques used by artists to capture the eye of a viewer and draw them
into the artwork. One such art piece that has this effect is: Mérode Altarpiece (Triptych of the
Annunciation) by Robert Campin (Master of Flémalle), circa 1425–1430s. This beautiful triptych
was painted in oil on oak panels, with the center panel measuring 25 1/4 x
24 7/8" and each side panel measuring approximately 25 3/8 x 10 3/4". This work of art currently
resides at the Metropolitan Museum of Art in New York, where it is displayed for all to see. This
triptych painting exudes a biblical reference whereas the main subjects are Mary ... Show more
content on Helpwriting.net ...
The small Christ figure is carrying a cross, a possible reference to the knowledge of what he is being
sent to do for the people. The way Mary is seated shows her acquiescence towards Gods' resolve;
she is so devoted that she would do anything God requested or required of her. On the right flank of
the triptych sits Joseph in his workshop working on a carpentry project. The hues in this scene are
more neutral throughout with some darker accents in Josephs' robes and headpiece. Behind Joseph a
Flemish city scene is visible through the open window, baring semblance to the fact that the people
are going about their normal daily activities, unaware of the miraculous event taking place just yards
away. Inside the shop, Joseph is drilling holes in a piece of wood that will be used in the wine
making process; this subtle reference to wine refers to the blood of Christ. There are several traps set
in various areas of the shop, these traps reference God's plan to trap Satan by sending Jesus to live
among the people. On the left flank of the triptych the donors, a husband and wife, kneel in the
garden outside the door of Mary and Josephs' house. The hues in this panel are not as dark, still
quite a bit of neutral shades, however, the husband is draped in black attire while his wife who is
positioned behind and to the right of him dons a

Hieronymus Bosch: Garden Of Earthly Delights
"Hieronymus Bosch: Garden of Earthly Delights" Garden of Earthly Delights by Hieronymus Bosch
is an oil on panel painting and was completed during 1505 – 1510. This particular piece is a triptych
since it is three separate panels that form one piece of art. The two outer panels fold inward to create
one outside panel with another painting. This writing will only be covering the three inside panels.
Bosch's painting is located in the Museo Nacional Del Prado in Madrid, Spain. The painting stands
at approximately 7' tall and 12' wide. The painting's main color palette is mostly comprised of blue,
red, and green.
It appears that Bosch uses line to draw your attention to the center of each panel. He used the lines
of the body of water in the ... Show more content on Helpwriting.net ...
During this time was The Reformation of the church and this influenced a lot of artists of that time.
The basis of The Reformation was that people began opposing the practices of the church. This
relates to current times also. In the United States lately, there has been a revolt against the
government. There have already been multiple works of art depicting these current events including
artwork, music, videos, etc. This artwork shows that no matter what the message is, if it is based on
biblical scripture, it will always be relevant to current

Summary Of The Garden Of Earthly Delights
For centuries, humans have analyzed the negative aspects of their own nature that leads them to
falling victim to overindulgence, producing myriads of written pieces and artwork to depict the
creator's portrayal and interpretation. Various forms of abundance, control, and power are vices that
humans are drawn to, utilizing them with greed and selfish intent in their hearts. Hieronymus Bosch,
a Renaissance–era painter from the Netherlands and most popular for his "invention" of Early
Netherlandish style paint, depicts his take on human's overindulgence of the vices through a world–
famous piece titled "The Garden of Earthly Delights". Created as a triptych, a three–part painting
divided into three separate panels, The Garden tells the story of humanity's empire, from the pure
creation of man, to the corrupted result of man's overindulgence in the vices. Bosch's heavily
references a biblical story, particularly of Adam and Eve, in this piece, a trait common in Early
Netherlandish paintings. This painting style makes reference to biblical works as well as heavily
emphasizes the use of shadows and light, allowing for the natural aspects of the landscape, animals,
and humans within it to appear more life–like. With the painting's richness in color, detail in
linework, and overall composition of the characters within it, Bosch's "The Garden of Earthly
Delights" evokes a deeper meaning to the formation and destruction of mankind's empire through
mankind's tendency towards corruption

Hieronymus Bosch Essay
For my final project I chose to do a study on the artist Hieronymus Bosch, or more specifically I
decided to focus on his use of owls in his various paintings. Bosch was a very interesting lad and his
paintings lean toward the bizarre end of a normalcy spectrum. Individuals likeminded to Bosch
fascinate me. My mind does not function or view things the same way and I find it very intriguing. I
cannot even imagine what types of discussions (much less guess the probable subjects) Bosch would
have had with his fellow artists in his time.
A secondary reason I chose to explore the meanings behind the use of owls is because I have a
personal fascination with owls. I already knew that owls are well–known for their association
wisdom, as well as the association with specific "knowledge and erudition that can see through
obscurity (and as the bird of Athena/Minerva, the goddess of wisdom), the owl appears frequently in
the emblems of scholarly publishing houses and book stores" (Biedermann, 250.) However, Bosch
chose to give his owls different, unconventional symbolic ... Show more content on Helpwriting.net
...
The owl is depicted as Christ, "giving the light of truth" evidenced by the writing in Lucas 1:79 and
obviously portraying the owl in a positive light. The other depiction is the owl as a sinner "being
dark and having fallen away from God" evidenced by the passage in Leviticus 11:6 which identifies
owls as unclean creatures, therefore in a negative light. The concept of owls symbolizing the turning
from spiritual light is supported additionally through a passage from Dictionary of Symbolism:
Cultural Icons and the Meanings Behind Them in which it is explained that this new symbolic
meaning is derived from many factors including "nocturnal habits, solitude, silent flight, and
plaintive cry" (Biedermann,

Comparing The Haywain And Hell By Hieronymus Bosch
Hieronymus Bosch, born Jheronimus Van, was a Dutch painter during the fifteenth and sixteenth
centuries who is renowned for his use of surrealism, and often morbid detail, to convey his
interpretations of religion as it pertained to the society he lived in. Little is known of his personal
life and, in fact, many of the works attributed to him can not actually be proven to be his original
work. Although Bosch could be compared to other well–known surrealist painters such as Salvador
Dali, he is primarily known for his use of triptych and fantastic attention to detail that gives him his
own unique, recognizable and strange style. His most famous works include The Garden of Earthly
Delights, The Haywain and Hell, and all serve as somewhat of a social commentary and personal ...
In essence, The Garden of Earthly Delights, perhaps the most famous of his works, consists of three
individual panes in a triptych that tell the story of mankind's evolution from the beginning in the
Garden of Eden and shows society's downfall and eventual path to Hell. The Haywain and Hell are
lesser–known but both similarly illustrate various aspects of Bosch's viewpoint regarding human sin
and the ultimate result of such sin. Bosch is certainly a very unique and fascinating artist and this
paper will discuss the detail and potential meanings of the works previously mentioned, their
relevance to the world at the time of their creation and their continued relevance throughout history.
As discussed in the introduction, The Garden of Earthly Delights is the most well–known and most
likely the most interesting and significant of Bosch's works. The first panel of the triptych depicts
and Adam and Eve standing with Jesus in the Garden of Eden. This illustrates man's original purity
but, because of

College Admissions Essay: Cultural Differences
There are many ways that Earth's billions of people can be culturally different. A culture consists of
many cultural components that range from one group to the next. Some people think culture is
mostly about ethnic appearance; I, on the other hand, relate to culture through family, interests , and
talents. On the very left side of my triptych, I put pictures of my family and friends because I
believe they have made me who I am today and play a major role in my life. My older brother is my
closest sibling out of four, and always has been. I have two brothers: one older, one younger. I also
have two sisters: one older, one younger. I am the middle child. Daniel is my older brother and he
has been in and out of prison, jail, and court ever since I can remember. He is a big reason why I
want to be a police officer. I realized that I want to stop crime and help people get their lives
together. California crime is why I ended up in Arkansas. My brother has not had the best life, He
was torn between divorced parents and often was around his father; who also is a criminal. I was
once told, " Crime is a taught behavior, whether it is intentional or not" and looking at my brother 's
life, I found that to be true. Before long my brother was getting locked up for grand theft auto,
drugs, and possession of firearms. When you're a felon, it is illegal to have a firearm in your
possession. Cali is my home, I was born in Woodland California. Woodland is where my mother,
brother and I

The Garden of Earthly Delights is the modern title given...
The Garden of Earthly Delights is the modern title given to a triptych painted by the Early
Netherlandish master Hieronymus Bosch. It has been housed in the Museo del Prado in Madrid
since 1939. Dating from between 1490 and 1510, when Bosch was between about 40 and 60 years
old, it is his best–known and most ambitious complete work. It reveals the artist at the height of his
powers; in no other painting does he achieve such complexity of meaning or such vivid imagery.
The left panel (220 × 97.5 cm, 87 × 38.4 in) (sometimes known as the Joining of Adam and Eve)
depicts a scene from the paradise of the Garden of Eden commonly interpreted as the moment when
God presents Eve to Adam. The painting shows Adam waking from a deep sleep ... Show more
Bosch depicts a world in which humans have succumbed to temptations that lead to evil and reap
eternal damnation. The tone of this final panel strikes a harsh contrast to those preceding it. The
scene is set at night, and the natural beauty that adorned the earlier panels is noticeably absent.
Compared to the warmth of the center panel, the right wing possesses a chilling quality–rendered
through cold colourisation and frozen waterways–and presents a tableau that has shifted from the
paradise of the center image to a spectacle of cruel torture and retribution. In a single, densely
detailed scene, the viewer is made witness to cities on fire in the background; war, torture chambers,
infernal taverns, and demons in the midground; and mutated animals feeding on human flesh in the
foreground. The nakedness of the human figures has lost all its eroticism, and many now attempt to
cover their genitalia and breasts with their hands.
The triptych is painted in oil on oak and is formed from a square middle panel flanked by two other
oak rectangular wings that close over the center as shutters. The outer wings, when folded, show a
grisaille painting of the earth during the biblical narrative of Creation. The three scenes of the inner
triptych are probably (but not necessarily) intended to be read chronologically from left to right. The
left panel depicts God presenting Eve to Adam, the central panel is a broad

Van Eyck The Great Piece Of Turf
It is not unusual to associate the Renaissance with Italy, where art was rapidly becoming more and
more realistic as artists embraced the Roman style of their past. This trend, however, was by no
means exclusive to Italy. In Northern European countries, other artists were also developing their
technique. And, because they had no access to Roman or Greek sculptures, their art changed in a
different way. Artists began to pay closer attention to the subjects of their work. Van Eyck mastered
this skill, and his Ghent Altarpiece shows his ability to perfect even the tiniest details in his work.
Albrecht Dürer's The Great Piece of Turf shows how artists began to use messiness and uneven
patterns as a way to achieve realism. Durer walked the fine ... Show more content on
Helpwriting.net ...
It was stolen during WWII by the Nazis, and one of the panels is still missing. It only takes one
glance at the masterpiece to understand why it is so desirable. Van Eyck is famous for his ability to
be both a microscope and a telescope, showing detail in every single element of the painting without
fail. The Renaissance was a time of rebirth in the art world, when both new and old techniques were
used. Van Eyck's triptych perfectly embodies this idea in his use of shapes. While he uses many
organic shapes, the panels mostly feature geometric shapes. Geometric shapes were typical in
medieval art, but Van Eyck's use of them was not. He alters them how he pleases until they fit into
his work, whereas in the past geometric shapes were used with little to no thought about how
realistic they seemed. In the far right panel, Eve holds her pregnant belly. While the largest part of
her stomach and her breasts are essentially a circle, Van Eyck uses shadows and light to blend them
into her skin, creating a more human effect. In the second rightmost upper panel, an angel plays
what appears to be an organ, a part of which seems to be a wooden triangle. It would have been easy
to thoughtlessly paint in a triangle, but Van Eyck refuses to sacrifice perspective for shape, and uses
light, shadow, and perspective to ensure that the triangle does not lay flat against the

Understanding Human Loneliness: Triptych, Left Panel By...
Understanding Human Loneliness draws on the excitement, narrative, and loneliness of New York
City, despite being removed from the city and sixty feet underground. The exhibition features only
two paintings: Le Déjeuner sur l'herbe by Edouard Manet and Triptych, Left Panel by Paula Rego.
The two works are vastly different – Rego's piece pierces the viewer with ideas of suffering and pain
while Manet's piece illustrates the unpleasantness of everyday interactions – but evoke a similar
sense of longing and need for attention. Tucked away in the bottom the basement of Elmer Holmes
Bobst Library at New York University, a place known for grim suicides, Understanding Human
Loneliness haunts an empty storage room. With untreated concrete and exposed ceilings, the
desolate storage–room–turned–art–gallery makes the visitors feel cold and uncomfortable. The
2,000–square foot exhibit feels both too large for only two pieces yet too small to escape the
unsettling paintings. The clacks of shoes and the whispers from the guests dance throughout the
gallery, as the environment offers nowhere to hide. ... Show more content on Helpwriting.net ...
Framed in stainless steel and resting at eye level, the blues and blacks of the painting feel as cold as
the surgical metal surrounding it. The painting depicts a woman curled up on a bed grasping her
thigh. She presses her forehead down on the bed and locks her left arm straight. A steel pole
protrudes below a ruffled white sheet, and a black plastic bucket and chair rest on the floor beside
the bed. The woman depicted is not safely under a blanket, but withers on top of a blue sheet with a
bucket as her only

Triptych, A Short Story Essay: The Vietnam War
Triptych He surveys the vast fields of dull brown corn plants. The skin of his hands is as aged and
dry as the denim that he wears. The porch and his hat are fighting a losing battle against the sun that
still blinds him. Sweat drips down his brow as he sits in his chair, taking in the scenery. The
scorched, cracked earth which cannot support the dying corn plants. Almost everything is dead.
Everything else is dying. High above him the sky is almost clear, with one pure white cloud which
only serves to taunt him. The 1973 Ford F–150 stands guard over the field. The old truck has not
moved in weeks. The man does not need to go in to town anymore. What could he sell? What could
he buy? All of the money he had saved was spent on food for the year. Weeks and ... Show more
The stillness and quiet of the air terrifies this man, though his face stays still. The last breeze blew
away long ago. The birds followed. They knew that food was elsewhere, and they charged toward
their bounty. But through this, the man stayed. And at this very moment, he could not remember
why. Far in the distance, rain is falling. The water crashes into the window like enemy soldiers at the
gates. Inside the station, tears are streaming down her face. Her clothes are soaked in blood, mud,
and water. She can feel the water holding her down while the blood takes away any sense of safety.
The detective sits quietly across from her. He has not said anything for the past thirty minutes. He
has nothing to say, and on the rare occasion that a question comes to his mind, it is answered by
either weeping of silence. The blood, mud, and water are drying on her blouse. With every lightning
strike, she hears the piercing crack of the slugs breaking through the sound barrier and into her
husband's stomach. She feels a pain shoot through her chest. She sobs harder. She cannot bring
herself to say anything more. The blood has seeped through her shirt and clings to her, like he used
to. His final

Portinari Triptych
hugo van der goes despite being considered the greatest flamenco teacher of the late fifteenth
century, his only work confirmed by attribution is adoration of the shepherds, saints, donors, now in
the uffizi. the work of hugo van der goes is distinguished from that of his contemporaries as hans
memling, by the attempt to capture a psychological depth and the quality of religious representations
that appear eccentric and profound at the same time. we do not know anything about the first period
of his life: he is documented for the first time as a member of the guild of artists of ghent, in
belgium, where he could have been born. the portinari triptych is a representation of the nativity,
commissioned by tommaso portinari, who worked in bruges

Art From The 15th-18th Century
Throughout the vast history of art, historians can find connections throughout the centuries. Artists
from the beginning of humankind have been inspired by the world around them. From the Apollo 11
stones to present day, history and culture have provided inspiration and have been the focus of
various pieces. Examining artwork from the 15th–18th century, viewers can be shown a whole
world that would be unknown to us without these artist's contributions. History, religion, and
cultural events have sculpted the art world, and we can observe this through many pieces during the
15th–18th centuries. Observing art from the earlier periods of time, religion and culture were the
driving forces behind the creation of art. Ancient African artwork shows humans using their
surroundings and ... Show more content on Helpwriting.net ...
The artist, Robert Campin and his disciples, incorporated the patrons of this piece, on the left panel.
The two figures pictured were the patron and his wife, which was supposed to connect the viewers
with the piece and Christianity as well. The trend of making the artwork more realistic appears
frequently, and artists did so through making the holy figures more humanly. Looking at earlier
pieces created in the Middle Ages, the Virgin Mary, Saints, and other holy figures were depicted as
on a higher, more heavenly level. Artists would elevate the feet, have them facing away from the
viewer, and be depicted as highly stylized. However, as shown in The Annunciation Triptych,
Campin and his workshop aspired for the viewers and the general public to feel more connected to
their religion. Altarpieces were used commonly in early European's homes, leading the artist to
create a typical household scene in the second panel where Mary and the angel were pictured. Thus
adding to the connection between the viewer and the Christian religion. Another altarpiece, the
Isenheim Altarpiece, shares similar

Analysis Of The Garden Of Earthly Delights
Art is all around us and whether we notice it or not we are always evaluating, deconstructing, and
deciding on if we like it or not. The Garden of Earthly Delights by Hieronymus Bosch is a triptych
done in the Renaissance period. A triptych is a painting or relief carving that has three different
panels and are hinged together side by side. I first came across this painting in my art history class in
high school and from then on I loved it due to all the imagery, colors, and the overall meaning that it
had. Ever since then this artwork has left a big imprint and got me to think about art as much more
than a picture, but to look at it as a whole and analyze it. This painting always seemed interesting
and intriguing for a couple of reasons. There are many themes going on, the colors are very
monochrome but yet look vivid and life–like, and it has a very deep meaning with the themes of
mortality, sin, and shows the end results for evil doings. The triptych has three different panels and
all three have their own story to tell. When the triptych is closed and both left and right sections are
shut you see the world in tones of gray or neutral colors. At the uppermost left corner of the closed
sections you can see a depiction of God looking down at the world with an open book in his hands.
The first one on the left tells the story of how God introduced Adam to Eve. They are shown to be in
a beautiful and surreal looking location which is thought to be paradise. Adam, Eve, and God

Netherlandish Triptych Case Study
My thesis examines in three case studies that taken together demonstrate how the triptych
transformed over the course of the fifteenth century. Chapter 2 discusses the emergence of the
characteristic form of the triptych that begins with Robert Campin. Campin, who lived from 1375–
1444, and who is usually identified with the Master of Flemalle. He is also considered to be the first
master of Flemish and early Netherlandish painting and established the typical form of the
Netherlandish triptych. Campin settled into Tournai in the early 1400s as a free master of the guild
of goldsmiths and painters. Eventually, Campin represented the guild on the city council. Since there
are no documents relating to Campin's apprenticeship or training, three stylistic sources have been
proposed. ... Show more content on Helpwriting.net ...
Melchior Broederlam, who worked on the Retable of the Passion (fig. 2), Henri Bellechose, who
was known for working with Philip the Bold, and Claus Sluter, a Burgundian sculpture, who worked
on the Charterhouse of Champmol. Broederlam is an important influence because his retable is one
of the earliest forms of a triptych in the Netherlands. Campin utilized some elements from the
Retable of the Passion (fig. 2), but ultimately was the first to create a standard for triptychs. He was
known for realistic figures, depiction of emotions in his paintings and also a sense of ambiguity.
That ambiguity is evident in Campin's Virgin and Child (fig. 3), the nimbi of the Virgin's intersects
with the Christ Child's head and creates a touching moment of intimacy between mother and child.
Their halos also act as a mediator between the foreground and background. The shape of the gems in
the halo reflects the rectilinear nature of the background, but the solid quality of the halo separates it
from the background. The halo seems to exist in both levels, creating a valency. This sense of
ambiguity and multivalence would come to characterize Campin's

Analysis Of Joachim Patinir 's Triptych, The Penitence Of...
Netherlandish use of triptychs–three distinct art pieces that simultaneously exist as individual
images and as a collective picture–usually were presented as devotional images and altarpieces.
Joachim Patinir's triptych, The Penitence of Saint Jerome (c. 1512–1515, Metropolitan Museum of
Art, NY), employs both the same form of traditional triptychs and the Netherlandish tradition of
extended panoramic landscapes; however, the triptych breaks traditional convention. The three
separate panels share the same landscape which allows the figures to exist in the same pictorial
space. This maintains an unbroken continuation of the landscape, which adds not only to the content
within a single panel, but to the entire narrative of the triptych. Yet, each individual panel is also
worthy of its own analysis and discussion. The left panel depicts the first of three saints, Saint John
the Baptist, in the midst of his signature baptizing of Christ. A river flows from the furthest reaches
of the landscape down to the bottom frame, with Christ standing thigh–deep in the water, a dove
alighting from God perched in the clouds in the top left. Saint John kneels over him on the riverbank
while a group of people huddle in the distance behind the baptism scene. In traditional style, the
triptych simultaneously depicts a central scene as well as past and future narrative events–present
here as Saint John preaching chronologically before the actual baptism of Christ. The central, larger
panel

Analysis Of The Crucifixion Of Christ
The crucifixion of Christ is the most important event that is recorded in the Bible. One of Christ's
final sentences before dying on the cross, "It is finished!", means that the price of salvation for all
the world was paid in full with the crucifixion of Jesus (John 14:6, NAS). Jesus dying on the cross
for our sins is not just a story in the Bible, it is an event that a man was tortured until He died all
because He loved us so much that we could have everlasting life (John 3:16, NAS). The painting of
Christ being tortured evokes an emotional response. The image makes the story in the Bible come to
life.
The tempera on canvas was a triptych painted for St. John's in Hamburg, Germany in 1394 (Art and
the Bible, 2017). The depiction of this event by Bertram of Minden is one of the very few art pieces
that show the nailing of Jesus to the cross (Art and the Bible, 2017). During the Christianization of
Germany in medieval times, the Bible influenced almost every aspect of German life (Jeep, 2017, p.
54). During the time of Bertram, the Bible was primarily a Latin document only available to the
educated (Jeep, 2017, p. 54). Readings of the Bible during church services were spoken or chanted
in Latin. Germans who did not understand Latin could attend church and have access to the stories
and teachings of God through paintings and motifs such as the painting of the crucifixion by
Bertram.
Why is the crucifixion of Jesus so important? If the Romans at that time were willing

The Garden Of Earthly Delights By Hieronymus Bosch
Estimated to have been painted sometime between 1505 and 1510, The Garden of Earthly Delights
was created by the Dutch painter Hieronymus Bosch (who was known for his tenancy to create
fantasy like figure painting of demons, machines and sometimes grotesque/frightening imagery).
This oil painting is composed of three panels (triptych), measuring 13 feet by 7 feet when all the
panels are open.
When opening up Bosch's triptych, the first panel reveals a colorful interior filled with strange
building, abnormal landforms, and many different types of crossbreed (alien like) creatures. In the
front of the left–hand panel, there lies three figures who can be assumed to be God himself (standing
in–between) and the figure of Adam and Eve. The ... Show more content on Helpwriting.net ...
The first panel depicts God introducing Adam to the creation of Eve (who was made from Adam's
rib bone) and with this first depiction the mankind's initial state of innocence which become
corrupted with God's introduction of Eve. However, you'll notice that in the central panel that God is
absent from it, which is why it depicts humanity acting in its own free will, in which they are
engaging in various sexual activities, in a board view of nude figure, hybrid fairytale like creatures,
and oversize fruit and plants. Making the central panel the representation of fleetingness of worldly
pleasure. The final panel, which looks like hell, showing the eccentric torment given out to the
damned, which is believed to be the vengeance of God for the sins and lust that is depicted in the
central panel. This can only can be assumed though because again there isn't any concrete evidence
on the true meaning or point to Bosch's "Garden of Earthly Delights".
Since there isn't much known about the paint true meaning or thesis, there also isn't much evidence
on the paintings backstory. Which can only lead us to theorized why or who was the painting
commissioned for. One theory comes from Wilhelm Franger's book, "The Millennium of
Hieronymus Bosch,". Where he argues the painting was commissioned by The Order's Brethren and
Sister of the Free Spirit, for their Grand Master [1]. That is just one theory among many other

Garden Of Earthly Delights
Garden of Earthly Delights was painted by Hieronymus Bosch in 1505 – 1515, oil on wood panel.
The size of the painting is 2.2 x 1.95m. This art work is mostly known for its symbolism and
fantastic unsettling imagery. The Garden of Earthly Delights is made up of three panels. On the left
panel, the story begins with Adam and Eve in the garden of Eden. By looking closely, you can see
some mysterious and different creatures such as unicorns, a white giraffe, and an elephant. The
painting ends with the "Last Judgement" on the right panel which shows people suffering. The
center panel shows all the "Earthly Delights" such as games, music, romance turned into sins like
sloth, gluttony, and lust. The meaning behind this shows that

The Triptych Summary

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The Triptych Summary