Cimabue Vs. Giotto Di Bondone Essay

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 TrinitГ 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

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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 Helpwriting.net ...
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

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,

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

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

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

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

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

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.

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 inItaly 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 content on Helpwriting.net ...
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 Renaissancepainting 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

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 В– 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 ChildВ…" has a greater degree of importance over the majority of the surface of the canvas. In
"Madonna and ChildВ…" 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 ChildВ…". 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 ChildВ…" however, the entire composition is subject to

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 ...
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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

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

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.

Interpretation of Giovanni BelliniвЂ™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 Veniceall 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

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,... Show more content on Helpwriting.net ...
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

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.

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

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 Helpwriting.net ...
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

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

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 ...
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

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

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

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 1504Madonna 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 VirginMary
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

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

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

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,

Giuliano BugiardiniвЂ™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 ...
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

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

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

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

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 inFlorence. 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

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

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

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

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

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

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

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 therenaissance 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

Cimabue Vs. Giotto Di Bondone Essay

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Cimabue Vs. Giotto Di Bondone Essay