Old Testament Stories

Old Testament Stories
In the Bible, there are many stories with similarities and differences. The three types of stories being
discussed in this paper are wife finding stories, birth stories and death stories. Examples of each
type are present in the Old Testament and New Testament. In this paper, the focus is going to be on
the stories in the Old Testament. The significance of the similarities is to help the reader identify the
type of story written. The authors are very careful and wise in how they write similar elements in
each type of story. The authors weave in similarities with many variances to make the stories
noticeable but keep them interesting. The first type of story is wife finding stories. Wife finding
tales where an important male figure in the ... Show more content on Helpwriting.net ...
The first element read in the Bible is that Jacob had gotten ill and was losing his vison. The physical
illness in the death story of Jacob was he was going blind, the most prevalent illness in death stories.
The trick played on Jacob is that his son Joseph switched his father's hands during the blessing.
Joseph brought his sons, Ephraim and Manasseh, to the land of Canaan. Manasseh is the eldest and
should get the blessing based on their cultural norms. However, Jacob planned to give the blessing
to the younger son Ephraim. Joseph was upset about his father's wishes and switched his father's
hands around. Jacob says the younger son will be greater than he and blessed the younger son. Once
again in Jacob's death story, the reader sees the younger sibling getting the blessing. The key
elements to look for in a death story are a physical illness typically eyesight related, a trick being
played, and younger sibling being
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The Annunciation Essay
Jiajing Lei A Deeper Look into a Piece of Art Sandro Botticelli Botticelli, (Alessandro di Mariano
Filipepi) (Italian, Florence 1444/45–1510 Florence) 1485 Tempera and gold on wood Accession
number: 1975.1.74 One of the most celebrated paintings in the Robert Lehman Collection, this
jewel–like representation of the Annunciation is set in an architectural interior constructed according
to a rigorous system of one–point perspective. The panel was almost certainly commissioned as a
private devotional image, not as part of a larger structure. While the identity of the patron is not
known, the work was in the famed Barberini collection in Rome in the seventeenth century. Jia Jing
lei Art History Professor Boyce November 20, ... Show more content on Helpwriting.net ...
Just by looking at the image, there is a lot of empty space that is surrounded in the back ground. In
that way, we would not pay attention to the background but the tension in the scene instead.
Basically at first glance, there is a depiction of purity and grace on the beautiful oil master piece.
The two figures of the Archangel and Virgin Mary are close together and it shows a scene of almost
touching fingers while they try to reach for one another but seems like they would never join hands.
The male figure of the archangel would carry a long feather like pen and it would bow down to the
Virgin marry and tries to respectable speak to her. On the other hand, the Virgin Mary seems to be in
authority because she is standing up and looking down at the Archangel. This creates tension in the
painting while we question the social distinction between the two. Looking closely at the Virgin
Mary, her eyes would be close. It is almost like she is resisting the contact from the Archangel and
tried to stay away from him. Looking on the left, the Archangel have white wings and there is
green–yellowish light that surrounds him and the red clothing on him show that he is there for good
news. But the resistance from the Virgin Mary seem like she is unaware of what is happening and is
unable to accept the annunciation from the angel. The Annunciation was presented in a jewel–like
style would be

Cosme Tura's Work
Cosmè Tura was one of the first Netherlandish painters to master the oil technique in Italy. Most of
his works were lost but one of his most known artworks, the organ doors are preserved in a
museum. The organ doors contain two of his artworks, one when it is open and another when it is
closed. For most of his life he was a court painter in Ferrara for the d'Este dukes. His two most
important contributions are being an official court painter and being an important figure in the
School of Ferrara.
Tura was born in 1430 in the city of Ferrara, Italy where he lived for most of his life. Giorgio
"Vasari wrote that Turo was a student of Galasso Galassi and the the two worked together at the
ducal seat of Belriguado, where Tura would decorate a chapel ... Show more content on
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St George and the Princess was also painted on canvas with tempera paint. The background of St
George and the Princess is a mountain with a road going up to the top where there is a building.
Also the princess is running away scared from St George who is on the horse. This painting by Tura
is a good painting but a little hard to understand.
Without Cosmè Tura the world today would be very different. Since, Tura used the oil technique for
most of his paintings it would not be as popular without him. Also he helped a lot with the School of
Ferrara so the school may not have even existed. Without the School of Ferrara many of the good
artists from the 15th century would not be well known. Tura may not have been the best or most
known artist but he contributed to many important things. The two things that helped Tura to
become more successful were working for the d'Este dukes and being a big figure in the Ferrara
School. Some of the artworks he made besides the ones for the organ doors were, A Muse
(Calliope?), Saint Jerome, The Virgin and the Enthroned, and The Virgin Annunciate. Cosme Tura
was an artist who grew up in the small town of Ferrara but in his later years became a very
successful man. Will we ever discover more about Cosmè

Select and Fully Identify Two Paintings from Different Art...
Prompt: Select and fully identify two paintings from different art historical periods and cultures that
depict the same subject or theme. Then discuss how the presentations are a reflection of the culture
and style in which it was created.
Can be found on pg. 560 in textbook can be found on pg. 600 in textbook
The first work is the center panel of the Merode Altarpiece by Robert Campin in 1425. It is titled
The Annunciation and is a Flemish painting. The second work is a fresco by Fra Angelico entitled
Annunciation. It was made in 1440 in Florence, Italy. The Merode Altarpiece is considered early
fifteenth century Flemish art while Annunciation is considered Early Renaissance art. The subject of
both of these paintings is the ... Show more content on Helpwriting.net ...
This work would have been located in a private Flemish home for private worship but it now
located in the Metropolitan Museum of Art in New York. The Annunciation is significant to history
because it demonstrated the shift of public worship at a church to private worship in the home. This
shift would eventually lead to the Protestant Reformation in the 16th century.
Annunciation, the fresco, clearly demonstrates the focus on religion in the 15th century. The fresco
is part of numerous frescos that were commissioned by the abbot of the Dominican monastery of
San Marco. The purpose of the fresco was to give religious reminders and instill piety into the
monks who were dedicating their lives to prayer. There is even an inscription at the bottom of the
work that reminds the monks to say a Hail Mary when they pass the work. Fra Angelico was greatly
influenced by two Gothic artists Gentile da Fabriano and Masaccio. The influence of Fabriano is
evident in the drapery and detail of Gabriel's wings which give a decorative style to the fresco. The
influence of Masaccio can be seen in the use of realistic depth. The work also uses linear
perspective which can be seen in the line between garden and the architecture. However, the lighting
and the proportions of the figures within the architecture are irrational. It could be said that these
artistic 'mistakes' were

Personal Narrative: The Greek Orthodox Cathedral Of The...
The Facts
Ever since the dawn of the civilization, one of the most profound undertakings for the human kind
has been the mission of discovering and understanding our bond with a divine power, a creator.
Such knowledge would reveal us the purpose of our existence. Every one of the major religions of
the world offers rules and recommendations that need to be followed in order for the worshiper to
become enlightened, or one with God. And almost all of them use temples as sacred places that offer
a connection between our world and the heavens. A place that allows our senses to get close to God.
Such one place is the Greek Orthodox Cathedral of The Annunciation in Atlanta located on 2500
Clairmont Rd. A place I have been on numerous occasions, ... Show more content on
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Here he's represented peacefully seated covered in a red robe and his head surrounded with the
mandatory golden halo and golden light beaming out of him in the four directions of the world. The
light blue background creates a sensation of heavenly ascending and lightness. If you are expecting
to see the elaborate paintings and mosaics covering the walls and ceilings of the typical Byzantine–
style church, you will be surprised to see that this cathedral is very simplistic compared to the
temples in Eastern Europe. Here important biblical scenes are covering walls under arcs from top to
bottom. Large scale frescos tell us stories about the birth of Jesus, the last supper, his crucifixion, his
resurrection and ascending. The canon is very strict as of what scenes should be depicted and where
should they be located. By rule the icons should be stylized, with little details, and the faces should
not represent real human faces. This way the worshipers won't feel like they are praying to a person
they know or have seen. Similar rules apply for the space in the icon. There is no perspective or
linear gradation which creates a sense of other reality. Styles may change through the centuries but
these fundamental rules have never changed since the 8th

Masaccio And Annunciation
The Tribute Money by Masaccio and Annunciation by Leonardo Da Vinci are classic pieces that
possess traditional Florentine influences while also expanding new innovative techniques and
approaches that produce a different aesthetic and emotional response from its viewers. Tribute
Money depicts 3 scenes, all of which involve Jesus. Centered in the painting is a tax collector asking
the disciple Peter to pay the temple tax. To the left Jesus orders Peter to drop a hook in the sea to
catch a fish. In the fish's mouth is a coin that Peter proceeds to give to the tax collector on the right
side of the painting. The purpose was to depict the righteousness of paying tribute to tax collectors
who were often also agents of the church. Annunciation depicts ... Show more content on
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This was a time in which art, culture, and science were embraced and progress sought was pursued.
While progressive values were accepted, this did not mean traditional institutions such as the
Roman Catholic Church did not maintain its influence on society. Religion and politics were often
intertwined and ultimately influenced the works of many artists. The Church used arts as a form of
communicating messages, propaganda and was able to obtain power by doing so. Many of
Leonardo's works are the product of projects commissioned by churches and political leaders, which
is the source of the religious themes of many of his paintings. The Medici Family, which was the
family in power during this time, had a particularly strong alliance with the pope and Catholic
Church. They served as bankers and accountants to the Church. During the mid 1420s, the second
phase of the war between Florence and Milan occurred in which imposition of a new tax reform
became imperative as the Medici looked for a way to finance the battle. The Medici did not view
this imposition as a violation of religious authority. Additionally, the Medici was challenged again in
1472 as the pope and king of Naples aimed to free Florence from Medici's oppression. Da Vinci's
work could be interpreted as a symbol of hope and liberation, as Gabriel visits the Virgin Mary from
heaven, with news that she will conceive a holy child. This demonstrates the intermingling of
religion and politics, which is very much aligned with the depiction we see in The Tribute Money
and Annunciation. The depictions of divine moments captured through the medium of great
Renaissance art is clearly influenced by the role of the Church at the time, and the paintings allow
the viewer to enjoy the work but also reconsolidate their Christian

Biography Of Verrocchio 's ' The Great Leonardo Da Vinci '...
As one of his earlier works, The Annunciation shows resemblance to Leonardo's teacher,
Verrocchio's sculpture work. Verrocchio's teachings in sculpting could have stimulated young Da
Vinci's mind enough to desire the anatomically correct form of his artwork. What couldn't be
deemed, as the teachings from Verrocchio would later turn into the signature styles of the great
Leonardo Da Vinci. The uses of realistic studies, linear perspective, and religious symbols are just
some of the techniques used in The Annunciation. For a while The Annunciation was thought be
have been painted by another artist, historians later discovered that it was in fact a piece by Da
Vinci. While the most useful pieces by Leonardo speaking in the historical and scientific sense, may
not have been the Mona Lisa or any of his paintings; but his sketches, and notebooks. Pieces of
theses sketches still exist today and show how tirelessly Leonardo worked to have all the aspects of
this piece be as realistic as possible. Using science to represent this realism becomes the key factor
in how many of his paintings became both aesthetically and historically recognized. Of course over
time many of Leonardo's journals and sketches have been lost or destroyed over the years. The ones
that have survived have been studied to gain more knowledge of the Renaissance man himself.
These are also used to prove that Leonardo was or wasn't the artist, likewise these sketches stressed
how detailed Da Vinci wanted every

The Annunciation (Cleveland Museum Of Art, Cleveland
Formal Analysis of The Annuciation
The painting The Annunciation (Cleveland Museum of Art, Cleveland) was made in Netherlands, or
possibly France, in the 1380s, using tempera and oil with gold on wood panel. A vertical
composition of about 31.43 × 40.32 cm, the sacred iconography depicts the biblical scene of the
Archangel Gabriel, sent by God, announcing to the Virgin that she would soon give birth to Christ.
The artist, who was commissioned to draw this piece, is unknown. The patron probably
commissioned the artwork for devotional use. It might be part of a narrative polyptych, conveying
the biblical story of Christ, expressing the divinity of God and Christianity.
In the foreground, the two main figures of the scene, the Virgin and the Archangel, are markedly
painted larger than the figures in the background, and thus, they become the attractive focus of the
whole painting. ... Show more content on Helpwriting.net ...
The excellent employment of chiaroscuro vividly shows the texture of the front of the drapery,
depicting it realistically and three–dimensionally. She has a golden halo with God's messages on it
behind her head, showing her divinity. She sits on an elevated throne with a calm look on her face.
However, she holds her hands in front of her breast, eyes gazing at God's message brought by the
Archangel, palms facing each other, indicating surprise and excitement due to the message. The
Virgin's serene facial expression contradicts her behavior, perhaps because the message not only
tells her the incarnation of Christ but also foreshadows his doomed death. Therefore, the whole
painting can be a polyptych. This piece is the beginning of the story, and other pieces, such as
Crucifixion, may be other parts of the

Leda And The Swan Analysis
In the poem "Leda and the Swan" by William B. Yeats, many connections to historical events,
mythology, and biblical themes are presented. A few such connections that are highly analyzed and
debated by critics are the connections and allusions to Greek history and mythology that occur in the
poem – including the nature of the sexual act committed – and parallels to Christianity, such as the
Holy Spirit visiting Mary: the two subjects connected by Yeats's own theories on history and the
passage of time.
While the majority of critics believe that the sexual act committed in the poem was of violence
against Leda, others debate on the true nature of the act, and if Leda was the one being raped. Uma
Kukathas speaks on the nature of the union within the poem, stating "the sensual overtones of the
poem also imply that the rape being described is not simply an act of violence but in some sense an
erotic act. Leda's thighs are 'caressed' and the swan 'holds her helpless breast upon his breast' in a
position that suggest intimacy or even lovemaking," then backs up the argument by stating "there is
further ambiguity with the line 'A shudder in the loins.' Again there is no pronoun before 'loins,' and
it may be that the shudder is not only on the part of the swan but is felt by Leda, too" (Kukathas
190). Helen Sword, award winning scholar and teacher, disagrees, saying that various other authors,
poets, and artists "have skirted the rape issue entirely" and "have portrayed Leda's story not as a
violent drama of pursuit and violation but rather a peaceful idyll – or ... a bumbling comedy – of
male's ardor and willing female abandon," contrasting their works against Yeats's, making the sexual
act within Yeats's depiction of the tale seem more more violent and more accurately classified as
rape (Sword 306). The debate on whether the act was consensual or not is active among critics, and
no unified answer is seen in the near future given the varying interpretations of the poem.
While the nature of the copulation is debated, there is also a debate on who in the poem was being
raped – based on the belief that the sexual act in the poem was not consensual. In W.C. Barnwell's
analysis of the poem, Barnwell concludes the rapist

Royal Portal Vs Annunciation
The Royal (west) Portal and the Annunciation and Visitation are both French art pieces that integrate
Gothic styles, the Royal Portal being early Gothic while the Annunciation and Visitation illustrates
high Gothic art. Pointing out the obvious, they both have four figures on them. The Annunciation
and Visitation coincides more with Roman portraits due to how realistic the piece looks and the way
it mimics a much more relaxed posture. The body language is more apparent as there are more
contrapposto arrangements incorporated. The head tilt, the bent position of the knees, the swaying of
the hips, and arm position adds to the rhythm of the piece. If we look at Saint Elizabeth, her right
knee is bent so we can see how the fabric moves with the curve of her body. The Royal Portal jambs
doesn't quite reflect characteristics of Roman art because we can see ... Show more content on
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The figures of the Royal Portal look like columns, much like the ones that they are each connected
to, showing how the architecture and the figures depends on one another whereas Annunciation and
Visitation are clearly independent so they are freestanding when we look at them. Unlike
Annunciation and Visitation where each of the religious figures are interacting with each other in
order to tell the narrative, each of the individual figures of the Royal Portal look isolated to the
figures beside them. The Royal Portal has more emphasis on the lines of the drapes where as on the
Annunciation and Visitation, the Annunciation is less contoured than Visitation. And even though
Virgin Mary is on both the left and the right, the lines on the robe of right side Mary are clearly
more defined than the left side to emphasize body language. But also, there is a difference between
Angel Gabriel and Virgin Mary when we focus on Annunciation. Angel Gabriel has more definition
than Virgin Mary as there is a more 'S' shaped figure with Gabriel as he bends his right

How Did Donatello Tell The Story Of The Annunciation
In your own words, explain how Donatello has told the story of The Annunciation in sculpture and
why contemporaries were so impressed with his achievement.
Donatello is considered to be one of the most influential artists of the 15th century. A
member of the innovative group of painters, architects and sculptors that revolutionised art in
Florence at the beginning of the 15th century, he succeeded in becoming perhaps the most
successful
in his field due to his understanding of the aspects of classical sculpture and the creative and
emotive way in which he adapted them to his own works. In particular, his reliefs surpassed all
others of the time in terms of their dramatic effect and complexity of character placement ... Show
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[3]"The artist's eagerness to produce something as thoroughly "all'antica" as possible, is evidently
responsible for the poor taste of this mixture of decorative features borrowed from various
monuments"
The story of the Annunciation is one that focuses on the centuries–long Islamic perspective of
judgement and expectation of others, especially women. Set during a period of time where the
sacred nature of a woman's purity was highly valued, the angel Gabriel's message to the Virgin
Mary was not one entirely void of danger and aprehension. An unwed mother would undoubtedly
be persecuted by her peers and this is the danger that Mary faced with the deliverance of the news.
Donatello's job was to not only create a skilled and beautiful piece of art but also to depict the
varying emotions of the scene in such a way as to convey to his audience the true story of the

Annunciation in all it's different aspects.
The placement of the figure of the Virgin is especially successful in displaying a sense of shock on
her part. Frightened by the appearance of the angel, she has delicately turned her body away from
him to the left while her right arm covers her left breast in surprise. He left arm hangs lower as she
clasps a book

Analysis of the Annunciation by Master of the Retable of...
Created by Master of the Retable of the Reyes Catolicos (also known as Master of the Catholic
Kings), this is another version of The Annunciation, a very common subject for artists ever since the
inception of Christianity. It was produced between 1466 and 1499 as oil on pine panel, and it stands
at 60 3/8 x 37in. It is now located in San Francisco, CA in the M.H. de Young Memorial Museum as
a gift from the Samuel H. Kress Foundation. The centerpiece of the piece is obviously Mary, though
she is on the right side of the painting. In one hand she holds an open bible, and she holds her other
hand up in prayer while she is looking down with her eyes almost completely shut. She has a halo
surrounding her head as gold rays shine down on her ... Show more content on Helpwriting.net ...
The trinity is commonly symbolized by groups of three in many works of art. In this piece there are
three archways shown inside the house, three vases next to Mary's bed, and three lilies in a vase
between the archangel and Mary that holds three white lilies that also represents the virgin's purity.
1 In the painting there is a fair balance, as every character except Mary is on the left side of the
scene, but they are all pointing and looking towards Mary. So, while the focal point of the scene is
obviously Mary, there are important figures and symbols on all levels of the picture. Also almost
everything in the scene has at least some significance, and none of the figures are independent and,
rather, are in union with each other. To fit the theme of a summer setting, along with the
annunciation being very holy and happy, the scene is very bright with light and uses some bold
bright colors. Both Mary's bed and God's outfit are a strong solid red. Bright greens and blues are
used on the land and sky outside. The archangel is dressed in a white robe with a red and gold cloak.
A strong contrast in colors is used to bring more attention to Mary, as her face is a very light white,
while her gown is a very dark green. Overall, while used to grab your attention, the colors do seem
very natural to what the scene would like, as perceived in the artist's time period. The lighting,
whoever, seems to be from an unnatural source. It

Leonardo's Annunciation
The (–– removed HTML ––) is oil on wood panel. Until canvas became a generalized medium,
panel was the major form of support for the creation of art. As oil paint has the flexibility and
moister–retaining property, it allows Leonardo to blend the colors to create the shades for realistic
depictions. Meanwhile, the thickness of oil paints gives the painting a sense of heaviness toward this
divine scene.
There is no obvious brush strokes on the two characters, Leonardo caters to mimic realistic textures
by bringing each texture, from the fleeciness of cloths to the ductility of angle wings, its very own
particular haptic visuality. However, toward the background, Leonardo no longer caters for exact
imitations. Instead, Leonardo incorporated ... Show more content on Helpwriting.net ...
The thin layers of transparent color he used was to mimc the natural glow under daylight, thus
bringing the ethereal quality to his paint.
The colors used in Leonardo da Vinci's (–– removed HTML ––) all have very light saturation. This
usage of color shows the simpleness of the annunciation scene, indirectly indicated Leonardo's
attitude toward the event as well as the painting –– things were all destined. Also, since Leonardo
followed his realistic style, he catered to depict every single detail, recreating its complexity and
vraisemblance. This will to a very full image, with all the objects each presenting its nature. The
light colors and the cool tones will help to decrease the painting's mussiness, through creating a
compatible harmony among all objects.
Virgin Mary is reading a book, which is most likely to be the bible. This object built the parallelism
with the bible story. This element adds the complexity of emotion toward the painting, resonating
with her facial expresson.
Angel Gabriel is holding a lily, a common symbol used in (–– removed HTML ––) paintings,
showing the purity and flawlessness of Virgin

Bicci Di Lorenzo's The Annunciation: Early Renaissance
"The Annunciation"
Religion has typically been used in history as the narrative for many pieces of artwork. The Early
Renaissance was renowned for the religious themes the artists would use in their work. This period
is also recognized for its focus on humanism, which refers to the cultural and educational
reformation. Humanism draws many of its themes and styles from the ancient Greeks and Romans.
The Renaissance spread throughout Europe and continued to focus on the rediscovery of these
predecessors. One of these paintings is Bicci di Lorenzo's, "The Annunciation," which was painted
during the Early Italian Renaissance. "The Annunciation" is a Biblical story when the Archangel
Gabriel visited Mary and announced to her that she would bear the Son of God. This painting's
formal elements have similar characteristics of the Early Renaissance Italian Paintings and some
influences from the Early Renaissance Flemish paintings and Gothic paintings. This painting is also
similar to other artwork such as, ... Show more content on Helpwriting.net ...
For example, if we look closely at Bicci di Lorenzo's painting, we can see a white dove in the light
rays. In the Bible, the white dove has traditionally been used as a symbol of the Holy Spirit, which
is one part of the Holy Trinity, "The Father, The Son, and The Holy Spirit." Another important
symbol in Bicci di Lorenzo's "The Annunciation," are the lilies that Gabriel is holding. The lilies
symbolize purity and truth. Purity refers to Mary because she is a virgin and truth refers to the truth
of the word of God. Lilies and doves are typically used as symbols when artists depict this narrative.
For example, Robert Campin in the "Merode Altarpiece" places lilies on the table to symbolizing
her purity. Another symbol is the Bible near Mary in Bicci di Lorenzo's painting. Fra Angelico
refrains from using symbolism in his painting by not including lilies, doves, and Mary near a

The Anunciation And Expulsion From Paradise Summary
Giovani di Paolo's "The Annunciation and Expulsion from Paradise" is currently in the National
Gallery of Art in Washington DC. According to the panel next to the artwork, the piece was finished
in 1435 CE and made of tempera on panel. This Sienese altarpiece from the start of the Italian
Renaissance shows the experimentation of form at that time. Giovanni di Paolo uses golden texture
to display divinity, line to illustrate architectural perspective, and a strategic use of scale throughout
the composition in order to portray the importance of the religious context. The golden foil that
compliments tempera works at the time draws your eye to specific points in the piece. Drawing your
eye to the upper left corner, the golden material then aids the eye in traveling down towards the
bottom right corner. Because the largest golden form is in the upper right corner, your sight starts
there. This is where god is represented and the symbol for divinity starts. Divinity implied by golden
nimbuses or halos continue throughout the piece around the head of divine figures. The only two
figures on the left without nimbuses represent Adam and Eve who are no longer divine one kicked
out of paradise. This relates to the second part of the title, 'Expulsion from Paradise.' For obvious
cultural reasons, the angels have the heavenly halos. One angel is specifically known, Archangel
Gabriel, because of the annunciation scene with Mary in the center. Joseph, at the right, and Mary
both also

Comparing Renaissance Paintings: Simone Marini And...
Before the Renaissance, paintings from the classical time are about nothing but religion.
Expressionless faces of Jesus Christ, the Madonna and the saints made them inaccessible to people.
People's body and minds were both framed, and the existence of human being seemed to be
negligible and worthless compare to gods. "Man is only a reed, the weakest thing in nature", as
Blaise Pascal points out, but he continues with the most important phrase: "but he is a thinking
reed". Thinking gives human the ability to love, to argue, to explore and to learn. Renaissance is
much about the progress of restoring the glory of human himself. During this progress, we can
clearly observe that human was gradually playing more and more significant roles in the ... Show
From Dante writing a book that everyone can read to Giotto giving emotions to his paintings, from
Ghiberti and Brunelleschi competing for designing the door of the baptistery to Cosimo founding
the Neoplatonic Academy, Renaissance made great progress from 1300s to 1500s. In general,
Simone made his Annunciation in 1333, the early developing period of Renaissance; Leonardo's in
1472, during the climax of Renaissance. If the differences in genres made these two paintings
different in their techniques of expression, the different time periods they were created gave them
different

Flippo Lippi Research Paper
The Renaissance was a period of new development in art and literature. Artists and sculptors used
their talents to express their inner most feelings and emotions. They influenced and established
many of the methods that we still use to this day. Filippo Lippi, an Italian painter, was no different.
He focused most of his art on his religious beliefs such the Seven Saints. Filippo was born in
Florence, Italy in 1406 to a middle class family, whom were butchers. His parents died when the
boy was at a young age, resulting him into becoming an orphan. Fortunately, his aunt, Mona
Lapaccio, took him under her wing. Growing up, he was distracted from his studies and often drew
instead.
Later in Filippo's adult life, he converted to the Carmelites. In 1452, he was appointed as a chaplain
to a convent in Florence. This was where the Renaissance artist met his wife Lucrezia Buti who was
assisting the nuns at this convent. However, Lippi engaged in sexual relations with her, abducted her
to his own house, and kept her there despite the nuns' efforts to reclaim her. This would result in
their child, Filippino Lippi, whom Lippi later trained to be a painter along side his pupil, ... Show
It was painted in 1443. The Annunciation is a tempera painting on a wooden panel. Tempera is a
mixture of water and usually eggs, which was used as paint. This was quite a common use as paint
because it dried quickly, was permanent, and was easy to mix with pigments. The Annunciation was
when the angel, Gabriel, appeared before Mary to tell her that she will be the mother of the Messiah.
This painting displays purity, innocence, and respect. The style in which Lippi used is very old and
the two main people in focus are dressed in robes, which isn't something you would see nowadays.
The background is decorated with pillars and arches which incorporates the gothic architecture that
was quite popular during the Middles

Summary And Symbolism In John Collier's Annunciation
Christian artwork is used to represent and symbolise the Gospel and important figures. Not all
individuals could read and write, therefore images were very important in delivering messages and
teachings. One artwork chosen is "Annunciation" by John Collier created in 2003. This modern
artwork shows Gabriel asking Mary if she would become the mother of Jesus. The other one is the
"Holy Night Nativity Scene" by Antonio Correggio created in 1530, which focuses on and sets the
scene of Jesus' birth.
The Annunciation displays the moment Gabriel was sent by God to tell Mary she would become
pregnant. This is present in the passage "God sent angel Gabriel to a virgin" and he said to Mary "
God has a surprise for you: You will become pregnant and give birth to a son and call his name
Jesus" (Luke 1:26–33).
The artwork depicts Mary as a very young and innocent women, which is aided by her modern
school inspired dress.
In the background, there are houses of a 21st century style of living in the suburbs, making the
setting familiar and relatable and allows the audience to feel connected to Mary. Therefore, the
emotions and thoughts of Mary is as she comprehends Gods wishes can be further understood. ...
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In the artwork, lilies are displayed to symbolise motherhood, which Mary is about to embark on and
also symbolises purity and faith. The dove on the roof of the neighbor's house represents the Holy
Spirit, showing that God is looking over her, awaiting her response. This is displayed in scripture as
"the Holy Spirit descended in bodily form, like a dove" (Luke 3:22). Mary is also holding the book
"Prophet Isaiah" which states that a virgin will conceive a child. This foreshadows the events about
to unfold. Under Mary's feet, there is a welcoming mat which symbolises that Mary will welcome
Gabriel's news and the path God has chosen for her with open

The Anunciation And Expulsion From Paradise Analysis
Giovanni di Paolo's The Annunciation and Expulsion from Paradise is currently in the National
Gallery of Art in Washington DC, was finished in 1435 CE, and is made of tempera on panel. This
Sienese panel from the start of the Italian Renaissance is believed to be one of five from the lower
part of the altarpiece. Giovanni di Paolo uses golden texture to display divinity, line to illustrate
architectural perspective, and a strategic use of scale throughout the composition in order to portray
the importance of the religious context. His personal artistic stylization, the experimentation of the
Italian Renaissance but still firmly painting with Medieval Pictorial Tradition, and the use of
symbolism can also demonstrate the religious meaning of the piece. Furthermore, in the context of
Giovanni di Paolo's The Annunciation and Expulsion from Paradise, the conversation between
monetary and cultural value and the controversy of art being exhibited in its country of origin will
be discussed.
Giovanni di Paolo gained distinction in the Sienese School of painting in the Gothic style. Believed
to use a style book for reference while painting, Giovanni di Paolo was extremely influenced by
Trecento and Quattrocento Italian artists. He started by mimicking other artists like Gentile da
Fabriano, but developed his own experimentation with religious pieces later on in his life. Although
he copied the concepts in his earlier works, like the Raising of Lazarus by Duccio, his scenes were
more lively, vivid, and realistically represented. Later in his life, Giovanni became skilled in
painting illuminated manuscripts, which are recognized today because the early influences of the
Italian Renaissance are present in his depiction of naturalism, like his experimental linear
perspective in The Annunciation and Expulsion from Paradise. Like all artists in the early Italian
Renaissance, Giovanni only painted religious narratives correlating to the Catholic influences.
Uniformed biblical narratives that most could understand were sought after, so schools and
monasteries taught artists and those artists were later commissioned by Catholic churches. The lack
of other means for patronage lead to strict representation of religious art as

Sandro Botticelli's Annunciation
In Sandro Botticelli's The Annunciation, 1485, the biblical scene of the angel Gabriel greeting Mary
is shown. The angel tells Mary she is expecting a child that is the Son of God. Botticelli's uses space
in The Annunciation to separate Mary and the angel Gabriel as well as combine the space for a
completed scene. The scene takes place inside a church. Mary is on the right side in an private
chapel. She facing the left and bowing to show respect to God. The angel is on the left side bowing
toward the right. The angel is standing in an ambulatory with a column running right between the
figures. The painting is done in tempera and gold on wood. The painting is very flat and matte
because of the tempera paint. The gold is used to form a halo ... Show more content on
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Again, Mary is on the right side on the painting. Botticelli is using the biblical motif to foreshadow
Christ being born. Christ is the right hand of God, so even the annunciation of his coming must be
holy and divine. While there is no bible evidence, many believe the angel Gabriel sat at the left hand
of God. Rabbi David Cooper says the angel is "connected with the attribute of Gevorah on the left
side of the Tree of Life. Whereas Michael is on God's right hand, Gabriel is on God's left hand. The
left hand is the one that metes out punishment; the right hand overrules strict justice and is more
merciful and thus more lenient" (p. 45). Botticelli seems to agree with the theory of Gabriel sitting
at God's left hand by the placement on the angel. While the does have a column directly diving the
space, the gaps between the columns and the walk way into the chapel combines the two sections.
Botticelli seems to be inferring for the angel to walk into the chapel and see Mary. The figures are
also bowing toward one another. Not only are they bowing because they are in the house of God, but
they seem to acknowledge one another in their bowing. If one would draw a line of the figures line
of vision the lines would intersect at the walk way between the columns. Therefore while Mary and
Gabriel are in different rooms of the church they can see and are interacting with one

Summary Of The Painting : Annunciation And Expulsion From...
On October 22, 2017, I had the opportunity to learn about the works of Renaissance art while
observing the painting The Annunciation and Expulsion from Paradise, at the National Gallery of
Art in Washington, D.C. completed by Giovanni Di Paolo in the fourteenth century A.D. The
painting is located in the West Building of the National Gallery, designed by American architect
John Russell Pope. We entered through the Madison Dr. entrance and walked through the Roman–
inspired columns of the rotunda, and proceeded to the left into the "barrel–vaulted sculpture hall"
(National Gallery of Art) and entered Gallery 3, where my painting rested. This West Building of the
National Gallery focuses on European artworks completed between the thirteenth through sixteenth
centuries. The Annunciation and Expulsion from Paradise was completed by Giovanni Di Paolo in
1435 A.D. This painting was smaller than I previously envisioned, as its dimensions are 40
centimeters by 46.4 centimeters. Compared to other paintings in the gallery, it was smaller in size,
as most of the paintings were over 100 centimeters in width. Other paintings in the gallery consisted
of other religious portraits that were much taller. With the frame, it is 54.93 centimeters by 58.74
centimeters and 6.99 centimeters in depth. The frame of the painting is wooden and gold, with little
dark blue crosses and red circle details, and engraved floral designs running along the middle. It also
displayed obvious signs of wear as

Essay on Comparison between Jan van Eyck and Fra Angelico
The Renaissance in Western Europe brought a "rebirth" to the arts. No longer was the church the
only accredited patron for the arts. Instead, a wealthy middle class arose as patrons and were able to
purchase artist's works. Although many pieces still had religious themes, the styles, freedom of
creativity, and less reserved pieces were created. The Renaissance was not only confined to Italy,
although it is often mistaken as the birthplace of the movement. All over Western Europe artwork
flourished. Artists from the north came to Italy to study the classical arts and the renowned Italian
Renaissance artists. Many of the same themes and subject matters were depicted throughout Western
Europe. One such subject matter, the Annunciation, was ... Show more content on Helpwriting.net ...
The Italians may not have had detailed frescos and vivid colors; however they were the leaders in
creating a harmonious scale between the landscape and the objects or figures that adorned it. They
developed a focused on perspective and made their art a science. They used mathematical
measurements and thus the piece was given a great deal of depth and realism. The fresco appears to
be an extended recessed space in the room. In Angelico's piece, linear perspective is created by the
placement and angles of the walls. The edge of the porch, the base of the first column and the lines
of the bench establish a linear perspective. Italian painters also focused on the studying of classical
art and architecture. In Angelico's piece, the arches supported by the stance of the ionic columns
show the interest and study that the Italians adapted into their work. The Northern Renaissance
painters eventually incorporated perspective in their work. Van Eyck used intuitive perspective,
making objects appear smaller and closer together as they are placed further in the distance to create
the feeling of depth in his piece.
Iconography is more prevalent in the Northern Renaissance artwork compared to the Italian
Renaissance artwork. Upon first glance, there are two distinct and obvious similarities between the
two works. The most noticeable is how Mary is wearing blue and is very similarly depicted. Just
like white, the color blue is thought to be the symbol of purity and

Filippo Lippi's Annunciation Scenes During The Renaissance
During the Renaissance, new styles of retelling stories and religious scenes emerged as artists
gained more freedom to experiment and show off their artistic talent. The newfound artistic freedom
can be attributed to a rebirth and renewal of classical antiquity and renewed interest in the
humanities. Artists, writers, philosophers, historians, poets, and many more intellectuals rose to the
opportunity in the pursuit of knowledge and moral enlightenment. The changes in the era brought
Europe out of darkness into the light, as new art was created, in new styles, forms, colors, and
setting. The great artists of the era captured the real world in their works, engaging the people to the
point that they could identify and relate to religious scenes of the Virgin Mary and Jesus Christ.
Filippo Lippi, a skilled Italian Renaissance painter, combined the religious world, the Classical era,
and the real world in his painting, Annunciation, painted in Florence from 1443–1450 with tempera
on panel. Filippo Lippi made the Annunciation scene with the Virgin Mary, Jesus Christ, and angels
accessible to everyday people, as they could enter the spiritual realm, experience it, and become
enlightened. Lippi's Annunciation captures both the real and the religious world through its defining
characteristics. He presents the Annunciation scene in a modern setting, a portico opening in a real
Italian villa with real Italian furniture looking out into a real garden (nature background), depicting

Summary Of ' The Angel '
The angel Gabriel then reveals to Mary his true purpose in his visit to her. "Don't be frightened,
Mary, for God has decided to bless you! You will become pregnant and have a son, and you are to
name him Jesus" (Luke 1:30–31). Gabriel then tells Mary that she will bear the Son of God and he
will reign over Israel forever. Gabriel's final words are, "For nothing is impossible with God" (Luke
1: 37). Despite the awesome, unexpected, unbelievable spectacle before her, Mary was able to
accept that she would have a baby despite being a virgin. "Mary responded, "I am the Lord's
servant, and I am willing to accept whatever he wants. May everything you have said come true"
(Luke 1:38). In her willing acceptance of God's plan the Annunciation is confirmed and the
Incarnation of Christ occurs. It was at this moment that, "The Word was made flesh," as the John's
Gospel puts it (John 1:14)" (Williamson 20). This painting of the Annunciation ', about 1430–40, is
an example of Christian Art depicting the Annunciation and subsequent Incarnation of Christ
described earlier. It was painted by an anonymous painter who went by the name of Master of
Judgement of Paris. The painting is currently located in the National Gallery of London. It is
believed to have "... originally been used as a devotional work within a household" (Flint).
Close examination of the painting may reveal a narrative. A story is told from left to right and from
the rear to the front. A

Gabriel's Feast Day Research Paper
Saint Gabriel's feast day is September 29. He is the patron saint of messengers, and postal workers.
Gabriel is also known as a messenger of God. He is mentioned in the Old and New Testament. In
one of the Old Testament biblical stories Gabriel appears to the prophet Daniel to interpret his
visions. Daniel described Gabriel as "one who looked like man". After Gabriel appears to Daniel in
his dreams he becomes tired and sick for a while. Gabriel comes a second time to give Daniel more
understanding towards his visions. In the New Testament Gabriel appears to Zacharias, the father of
John the Baptist. Gabriel gives him news that his wife Elizabeth will bear a son and he will be
named John. Six months later after Elizabeth had conceived, Gabriel

The Annunciation Explored through the Era of Italian...
The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel
announced to the Virgin Mary that she would conceive and become the mother to the Son of God,
Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been
portrayed abundantly and variously in many visual art forms from the earliest centuries of
Christianity and Christian iconography. This essay will explore the depiction of the Annunciation
and symbolism in the period of the Italian Renaissance and pay particular attention towards the
development of the focus on spiritualism towards naturalism through the refined language of
expression and gesture from the 14th century to the late 15th century.
As a ... Show more content on Helpwriting.net ...
Fig. 1 captures the very moment that the archangel Gabriel comes down from the heavenly realm to
earth to announce to Mary that she will conceive the Christ–child and he shall be called Jesus. The
gold of his crown is representative of the "celestial realm that he has left to deliver this message"
(Kleiner, 2010:387). The announcement is depicted very much in the moment as the words are quite
literally illustrated with the text "Ava gratia plena Dominus tecum" (Van Dijk, 1999:420), which
leave his mouth from left to right as if they were encapsulated in a speech bubble. The phrase is in
fact inscribed in Latin and reads as "Hail, Mary, full of grace, blessed art thou among women" (Van
Dijk, 1999:420). The draping cloth around Gabriel's gold–infused light blue robe whips around the
angel as if he had just land and his wings, which are still erect, depict an effortless grace of divine
delicacy in the way that Martini executed them. Making use of undulating, long curved linear lines,
they are almost liquid–like in their fluidity. The angel is painted holding a branch of olive leaves in
his left hand. This is a symbol of the Christ–head and his coming to earth as the "Prince of Peace"
(Emmerson, 2006:456), and also makes a reference to the traditional biblical story of Noah, the ark
and the dove returning with an olive branch as a promise of the covenant of peace made by God
with man (Genesis 8:11, English Standard Version)
In the middle of the very shallow

The Gospel Of The Bible
The Gospel according to Luke is the third of the four Gospels found in the New Testament. This
Gospel is the longest, and was originally joined to the Acts, making a two volume book. Irenaeus,
Tertullian and Jerome, are examples of individual witnesses who named the author of the third
Gospel, St. Luke; a physician from Antioch, and fellow companion of St. Paul. It is also evident in
the preface, when Luke uses the first pronoun saying, "I too decided to write an orderly account"
(1:1–4). Most scholars, such as those who wrote the Navarre Bible and "Inside the Bible," believe
the Gospel was written in the early 60s A.D. The reason for this is; Acts of the Apostles was written
after Luke, and ends with a description of St Paul before ... Show more content on Helpwriting.net
...
This Gospel focuses on the historical framework of certain events and views happenings in a new
angle. For example, Luke presents Christ's life on earth as a journey towards Jerusalem; so on the
day of Jesus' ascension, the earthly symbol becomes the Holy City. The structure of the Gospel of
Luke begins with the prologue, depicting the purpose of the intended account. It follows with the
infancy narratives; the Saviour's birth and youth; His baptism and temptation; His message and
mission; the journey to Jerusalem; and His death and resurrection.
This Gospel places great emphasis on Jesus of Nazareth as the Messiah promised to the Jews in the
Old Testament. It also addresses the theme of universal salvation. Christ's redemption is intended for
everyone, and He has come to gather all people to himself. The trinity is evident from the beginning,
with God and the Holy Spirit enveloping them self in Mary; while the journey of the Son of God, is
the basis of the Gospel. Mary, the mother of Jesus, has a significant role in this Gospel, through
accepting God's call to conceive Jesus through the Holy Spirit. Without this approval, the events in
the New Testament would not exist. This Gospel uses a variety of literary devices consisting of:
narratives, foreshadowing, parables, themes and miracle stories. Using these enhances the language
used to express the meaning and significance of Jesus' life.
Chapter one, verses

Jean Hey’s Annunciation Essay examples
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that
year, Flemmish artist Jean Hey, known as the "Master of Moulins," painted "The Annunciation" to
adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel
Gabriel's visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As
the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but
eventually accepts her fate as God's servant. "The Annunciation" is an oil painting on a modest
canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk
in the bottom right hand corner ... Show more content on Helpwriting.net ...
The new emphasis on learning, especially via direct observation of the natural world, led to new
artistic techniques that allowed artists to mimic those of the ancients. The Early Renaissance was,
therefore, a progression of observing the works of the ancients, and undergoing a new process of
trial–and–error learning from prior mistakes and tracing the path of artistic creation. The aim of the
artists was to better their abilities at portraying human characteristics, both physical and emotional,
while creating a more ideal finished product, something that was as significant in presence as the
natural world itself. Much progress was made in these campaigns during the Early Renaissance, and
the emergence of the High Renaissance was characterized by the true mastery of the method of
creating mankind's body and emotions[1], and an artwork as balanced as nature itself. Jean Hey's
"The Annunciation" demonstrates the product of this final Renaissance transition.
One of the more intricate elements of the human form whose representation the High Renaissance
perfected was that of hands. "The Annunciation" is evidence of this. The proportions and general
structure of Gabriel and Mary's hands are true to nature but it is the meticulously accurate re–
creation of anatomical detail

Zechariah's The Riddle Of The Annunciation
With the initial exchange between Mary and the Angel resolved, this discussion now turns its
attention to the central point of the Annunciation passage, the announcement of Christ, and Mary's
confusion at this pronouncement. To truly understand that scriptural passage, it is necessary to
discuss the possible reasons for what has been called The Riddle of the Annunciation, that is, why a
girl who is betrothed to be married and, presumably, understands the origin of children, questions
how the Angel's announcement could pertain to her. The simplest explanation to this question is also
the least satisfying. This is that, for some reason, Mary is ignorant of the way children are
conceived. This does not seem to fit any reasonable reading of the ... Show more content on
Helpwriting.net ...
He points out that the annunciation format itself generally requires an objecting question. This could
partially explain Zechariah's objection in the previous story in Luke which this is designed to
parallel. However, Landry goes on to note that such a clunky and unreasonable objection does not
seem to fit. Elsewhere, Luke does not hold himself so slavishly to formal patterns that he damages
the flow of his story. It seems that if Luke were slavishly following the formal pattern for an
annunciation, he would have picked an objection that would not be so confusing or even
indecipherable to his reader. In fact, Landry asserts with Schaberg that those who immediately jump
to Luke simply slavishly following the annunciation format "have given up too soon on the logic of
the story." This discussion agrees with that conclusion; the literary solution ignores Luke's actual
text and simply takes the easy solution to sidestep rather than address this question. A rejection of
the literary solution to the riddle is further supported elsewhere in Luke's own Gospel, and these will
be discussed later within the discussion of solutions that reject historicity of the virgin birth

Summary: Annunciation And Visitation
Teddy Olberding
Lucia Abramovich
Object Paper
20 April 2018
Annunciation and Visitation The Annunciation and Visitation, located at the Cathedral of Notre
Dame at Reims, is a scene composed of stone statues located just northeast of Paris, France in the
city of Reims. These statues are referred to as jamb statues and are defined by the fact that they are
divine figures that are attached to the exterior of the cathedral and are mounted on doorways or sills
(Valdes 2011). While the cathedral began construction in 1211 and was mostly completed roughly
eighty years later, Annunciation and Visitation was constructed in approximately 1230 (Harris and
Zucker 2018). The cathedral and sculptures alike are members of the High Gothic period of art
which ... Show more content on Helpwriting.net ...
By protruding from the cathedral's walls, the figures are more attractive and would gain more
observation. Also, they would have been brightly painted to look as realistic as possible (Harris and
Zucker 2018). This, in its day, would have made the scenes seem even more lively than they do
now, and certainly more lively than the blander jamb sculptures of Early Gothic art. Not only were
the figures interacting with each other, but they would have been able to interact with passersby and
members of the cathedral. Their realism could have especially been effective in playing towards the
church youths. The colorful figures on the exterior of the church were the same ones that were
featured in biblical sermons on the interior and would have helped paint visuals of gospel readings.
Finally, as is characteristic of many religions, the divine figures depicted were both literally and
figuratively placed above the mortal man or woman. The jamb statues were larger–than–life–size
and, in case there was any doubt that they reign supreme over us, are mounted on the cathedral. This
gives the appearance of Gabriel, Mary and Elizabeth watching over us. This could mean in a
protective, religious sense but also could be in a hierarchical context. The figures depicted in
Annunciation and Visitation are all of vital importance to Christianity and are worshiped–or looked
up to–by followers of that faith. These reasons are why I believe Annunciation and Visitation looks
and is placed the way it

Art History Research Paper
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting,
smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece
of art work, which was the artist's intended purpose. The eyes serve a much higher purpose than to
view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey
and enter a world of no limitation. During the 15th century, specifically the Early Renaissance,
Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were
able to encompass significant details that the audience may typically only pay a cursory glance. The
size of altarpieces was its most obvious feat but ... Show more content on Helpwriting.net ...
The quality and quantity of details in Adoration of the Mystic Lamb are embodied by van Eyck's
mastery of oil, which suggests that his altarpiece is the greatest representation of Christianity in a
piece of art.
The early life of Jan van Eyck remains partially unknown as records did not reveal factual
information regarding his birth and childhood. An inference states that van Eyck was "born
somewhere around 1390 in the village of Maaseyck" (Hughes and Faggin 5). Many years of his life
were not documented and kept in records, but the few years before the creation of the Ghent
Altarpiece, or Adoration of the Mystic Lamb, van Eyck's records points out that he was rather
active. Van Eyck was appointed by Philip the Good and the Duke of Burgundy to relay important
missions that allowed him to live a fortunate lifestyle as a painter. Patronage, during this time,
became more sought after since the influx of new methods and exceeded expectations grabbed the
attentions of patrons. Also, since van Eyck's abilities seemed unmatched at the time, Philip the Good
declared, "he would never find a man so much to his taste, or such a paragon of science and art"
(Hughes and

Analysis Of The Joys And Sorrows Of Mary
The museum that I visited was the Museum of Fine Arts in St. Petersburg, Florida. The artwork I
viewed was titled, The Joys and Sorrows of Mary (Life of Christ) and this art piece was created
around 1375 to 1400
The artwork, The Joys and Sorrows of Mary (Life of Christ), was created in Late Gothic period.
I am comparing The Joys and Sorrows of Mary and the Sarcophagus of Junius Bassus
Organization:
In The Joys and Sorrows of Mary diptych, the author utilizes gothic style, with lancet windows,
pointed arches, and also seemed to be going for corinthian type columns. The author organized the
art piece in a realistic, natural way, paying close attention to detail, and carving the art in high relief,
allowing people to see the art scenes from a distance. The facial expressions are simple, kind, and
the body language is subtle. The Virgin Mary also stands in "Gothic S–curve" stance in the
Annunciation, where her movement is smooth and continuous, and her weight is shifted toward her
right side (Anonymous). The lower four scenes represent the Annunciation, Visitation, Nativity, and
Adoration of the Magi. The upper scenes represent Noli me tangere ("touch me not"), the
Crucifixion, Presentation in the Temple, and the Coronation of the Virgin (Anonymous). In the
Sarcophagus of Junius Bassus, the artist combined Roman and Christian characteristics to represent
Junius Bassus' conversion from Paganism to Christianity. The sarcophagus has different biblical
scenes carved in high

Religious Symbolism in Painting The Annunciation, with...
Religious Symbolism in Painting The Annunciation, with Saint Emidius by Carlo Crivelli
The artist Carlo Crivelli painted 'The Annunciation, with Saint Emidius' in the 15th century.
Noticeably, Crivelli's portrayal of the Annunciation differs vastly to the one actually presented in
Luke 1:26–38 of the Bible. For instance, Jesus' coming was said to have been announced to Mary in
'Nazareth, a town in Galilee' (Luke 1:26). However, in Crivelli's interpretation of the event, the
Annunciation is set in the elaborate town of Ascoli, a town that has been portrayed to be flourishing
in the opulence and aesthetics that the Renaissance had brought to Crivelli's era. However, Crivelli
may have deliberately ... Show more content on Helpwriting.net ...
In addition to this, there is also a Latin phrase: 'LIBERTAS ECCLESIASTICA', which when
translated means 'Freedom from the Church'. Moreover, Crivelli may have used such an extensive
array of colours in his painting to celebrate Ascoli's new, free status as well as to signify the joyous
coming of the Christ child.
A similarity with the actual Annunciation is the presence of the Archangel Gabriel as in the Bible, he
was sent to the Virgin Mary to announce the imminent arrival of baby Jesus. However, an
irregularity is still at hand as the Archangel is pictured to be walking alongside a Saint, which is a
rarity in religious works of art. The saint who he is walking with is Saint Emidius, the patron saint
of Ascoli. In his hands, Saint Emidius is shown to be carrying a model of his town. The model itself
is dominated by a collection of towers, which are status symbols of prosperity as well as connecting
the Earth to the Heavens above due to their height. The prosperity is reinforced throughout the
image by the presence of all the elegant architecture.
Visually, the audience is drawn into the painting by two protruding images: an apple and a gherkin.
The apple is suggestive of sin due to its obvious connections to the story of Adam and Eve and the
gherkin is representative of

Van Eyck's Annunciation
Religious art has been the most frequently depicted subject for generations. Artists would create
pictures of scripture stories or religious leaders to help the common (and often illiterate) people
understand them more. Symbols, or icons, were introduced to give a piece more meaning. Objects
or colors were assigned descriptions to help better represent what the values or virtues of a character
or story were. One frequently portrayed Christian religious story is of the Annunciation where the
Angel Gabriel comes to the Virgin Mary to tell her she will be the Mother of God. This key moment
of the New Testament is a favorite of Christian artists throughout time, and the story of the Virgin
and Angel is timeless. The Christian iconography of the ... Show more content on Helpwriting.net ...
All throughout history there have been depictions of the Annunciation because Christian's
understand its eternal significance. Mary is portrayed in earthly qualities as obedient, timid, and
modest and heavenly qualities of cosmic power. She is beautiful, calm, righteous, and pure as well
as being full of wisdom and godly light. She is depicted as something so pure and good because she
must carry something even more righteous than her, which is a tremendous responsibility for this
young woman that she takes with acceptance and

Merode Altarpiece Essay
The Merode Altarpiece is a triptych painted by Robert Campin, an Early Neatherlandish painter. The
oil and wood painting was completed sometime between 1427 and 1432. Measuring 66 cm tall and
125 cm across, it was most likely commissioned by Campin for private use. The left panel depicts
the commissioners of the painting, the central panel depics the Annunciation to the Blessed Virgin
Mary, while the right panel somewhat curiously depicts Saint Joseph as a working carpenter. The
triptych is noted for being rife with symbolism; analysis was pioneered by art historian Meyer
Schapiro. In his paper textit{Muscipula Diaboli, The Symbolism of the Merode Altarpiece}, he
focused particularly on the mousetrap Saint Joseph appears to be constructing. ... Show more
content on Helpwriting.net ...
His paper ``The Theme of the Merode Altarpiece" focuses more on the altarpiece's entire
iconography within a historical context. While Schapiro's analysis preceeds similarly, his use of
symbolism is much more specific and concentrated on the mousetrap and St. Joseph as its central
argument.
par In his work, Schapiro first notes the peculiarity of the circumstances in which Saint Joseph
appears. While it is generally accepted that Saint Joseph was a craftsmen or carpenter by trade,
artistic depictions of his figure usually emphasize his holiness in relation to the Blessed Virgin
Mary. Therefore, Schapiro argues, to portray Joseph with a sense of normality only highlights the
importance of his work. What then, is the meaning of the mousetrap? In relation to the adjacent
panel of Annunciation, ``the human flesh of Christ is a bait for the devil, who, in seizing it, brings
about his own ruin" (Schapiro 182). Schapiro believes Christ's reincarnation by the Virgin Mary and
subsequent sacrifice is merely ``payment of a ransom owed to the devil". As further confirmed in
Minott's paper, we see that this was a common theological motif of the Middle

Comparing The Archangel Gabriel And The Virgin Of The...
After Ancient art period, the Medieval art period started from the fall of Roman Empire in 400 A.D.
to 1400 A.D. During the New Roman period, artworks about God, Saints and Angels as well as
biblical scenes became more and more popular. Different from the realistic style of the Ancient
Greek and Roman art, biblical scenes arts were created with iconic art style and more abstract and
simplified, but the content was clear and easy to understand. Medieval artists created arts in order to
decorating churches. The Archangel Gabriel (1388) and The Virgin of the Annunciation (1388), by
Bartolo di Fredi, were two of the most famous biblical scene arts during the Medieval art period.
Bartolo di Fredi was born in Siena which was one of the major artistic ... Show more content on
Helpwriting.net ...
Both of the artworks, by Bartolo di Fredi, have a similar style with similar details. Both of angle
Gabriel and Virgin Mary were painted inside the wooden frame with the shape of the interior of a
church. The common dome structure, which was a popular structure for church during the Medieval
art period, were carefully shaped and decorated with great amount of details to create the illusion
that both Virgin Mary and Saint Gabriel were standing inside a church. The content of these two
artworks are very clear. By using the frames with the shapes of a church as well as the decoration of
the interior inside a church, audiences can clearly understand that these artworks were biblical arts
and they were created as decorations for churches. With both iconic style for Saint Gabriel and
Virgin Mary, audiences can clearly see that these two artworks were created to depict the holy
moment when an angel was sent to Virgin Mary with the announcement the Virgin's destiny as the
mother of

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 ...
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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
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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

Analysis Of Angels Displaying The Crown Of Thorns
There are several miniatures in particular that are meant to evoke piety, for Anne, as well as that
which she hoped her son would display, in time. Angels Displaying the Crown of Thorns (Fol. 30r)
depicts two angels reverently holding a golden crown of thorns, referencing that worn by Christ. In
Angels Displaying the Eucharist in a Monstrance (Fol. 11v), four angels carefully hold a
monstrance, a device by which the Host of communion could be displayed for worship and
respectful contemplation. These angels are in a similar setting and arrangement to those holding the
crown of thorns, and both images share the same main purpose, as well: to have two extra sections
of this prayer book inadvertently dedicated towards recalling the Passion of Christ. There are also
some other possible implied purposes, though. The inclusion of the crown of thorns in one folio
serves as a reminder of the fact that Anne had privileged access to Sainte–Chapelle, which she
undoubtedly took advantage of, built by Louis IX following his obtainment of the Crown of Thorns,
as a place in which to house it, along with other such articles. Her piety is thus re–emphasised
through yet another display of devotion for her son to follow. In a similar manner, the monstrance,
an object of great importance to the devout, would serve the same purpose. Yet, there is also the
sense that Anne is showcasing the opulent objects at her disposal, for the crown of thorns was
certainly not a replaceable, nor common,

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