Ghent Altarpiece By Jan Van Eyck Analysis

Ghent Altarpiece By Jan Van Eyck Analysis
"The Ghent Altarpiece" by Jan Van Eyck, is a piece of art worth writing about. The subject matter of
this work of art is God enthroned with golden jewelry, fine clothing, and just basically surrounded
by gold and is even sitting on a golden throne. I think the content is quite simple. I think Van Eyck is
trying to say that God is a ruler that deeply values worldly things. This contradicts the belief that
God is an advocate for self–sacrifice and humbleness. I would say that this artwork is
representational due to the fact that this image is not distorted in any way and it also somewhat
refers to the natural world. God, in this image, is dressed like a benevolent king. It doesn't include
any unworldly things. It most likely represents the cultural ... Show more content on Helpwriting.net
...
You could also notice implied lines in the sacrificing scene below God. Most of the people in the
middle of the image are looking in the same direction. That direction being toward the sacrificial
lamb. It could also be seen in the two sections of the work to the left and right of the scene with the
lamb. There are soldiers and other people that also seem to be looking toward the lamb. In this
painting, one big thing stings out to me involving light. In the scene where the lamb is about to be
sacrificed, there is a mixture of light and dark used. The contrast of light and dark is used to show
the dramatic nature in this particular scene. I would describe this as chiaroscuro since it is a more
gradual transition. I think this also focuses the viewer's attention to the main scene in the artwork.
For example, the brightest spot of this particular scene is the lamb on the table. It helps show its
importance. There is also use of tenebrism in this work. On the far left and right are images of what
appear to be Adam and Eve. There is a very sharp contrast of light and dark in this image. I think it
is there to provide a sense of importance toward the two
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Columbus Before The Council Of Samaca Analysis
The artwork my group of three chose to describe for this assignment is called Columbus Before the
Council of Salamaca. William H. Powell painted it in 1847. The professor said to identify three
stylistic characteristics, however I am going to identify four of my favorite stylistic characteristics.
Theatricality, immediacy, human drama, and descriptive realism of particulars are the four stylistic
characteristics from different stylistic periods I am going to pinpoint and describe in the painting.
Theatricality is the use of light and shadowy dark to create a spotlight effect, also known as
tenebrism. The artist painted tiny segments of windows behind the figures to allow the bright
afternoon sunlight to penetrate through it and hit the figures ... Show more content on
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Caravaggio painted it in the year ca. 1597–1601 and it can be found on page 539 of the texbook. The
artworks named the Calling of Mathew and Columbus Before the Council of Salamaca are both
similar in many ways. They both have the four stylistic characteristics of human drama, immediacy,
theatricality, and discriptive realism of particulars. In Columbus Before the Council of Salamaca
Powell used the same technique as Caravaggio to create windoms that allow the afternoon sunlight
to reflect on the figures at a particular angle. Powell made his windoms visible to the viewer,
however Caravaggio did not; he just gave the viewer a sense of having one. They both used light
and shadowy dark to create a spot light effect on their figures, the term known as theatricality. Both
of these paintings display a great deal of human drama, the first painting show Columbus infront the
concil men trying to convince them of his finding, while the second is a babically scene of Jesus
Calling Mathew, who was then Levi the tax collector. Those surrounding Jesus were surprise that he
wanted a man that must of them thought was the biggest sinner of all to follow him and so were
those listening to Mr. Columbus. The immediacy play a great role in both of the paintings, in Calling
of Saint Matthew, Jesus raise his left hand to point at Levi,

Essay On Carvaggio
Michelangelo Merisi da Caravaggio was born in Milan, Italy in 1571. The Italian Baroque artist is
commonly referred to as simply Caravaggio, as this was the town in northern Italy his family moved
to in 1576 to escape a plague. Realism, naturalism, and theatrical use of chiaroscuro are
characteristic of his paintings. This dramatic shift from light to dark became known as tenebrism. He
often painted straight onto canvas with minimal preparation and created scenes that appear to be an
expansion of real space. I begin with a brief biography of Caravaggio, followed by a purely formal
analysis of Salome Receives the Head of John the Baptist. Next I provide the story and history
behind the subjects of the painting. I conclude with an analysis of the painting's symbolism and
meaning. Caravaggio moved to Rome in 1592 at the age of twenty–one. He was not particularly
popular his first few years of working in Rome. After leaving the workshop of Cavaliere Giuseppe
Cesari d'Arpino, Caravaggio painted his first masterpiece: The Cardsharps (c. 1594) and attracted
considerable attention in the art world of Rome. In 1595 Cardinal ... Show more content on
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The head of John the Baptist rests on the golden platter held by Salome. Beyond knowing this fact
simply because of the title of the painting, it can be inferred it is John the Baptist because of his
unruly hair. Salome looks off to her right, ashamed of her mother's request and disgusted with the
disembodied head. She grips the platter tightly with both hands and uses her drapery to act as a
barrier between her right hand and the gold plate, as if the thin cloth can protect her flesh from the
heinous act of John the Baptist's murder. Her left hand however, the hand closest to her mother, is
left uncovered. While the request to kill John the Baptist was not her own, by inviting her mother
into the conversation, Salome maintained a direct influence in the

Classical Art Through The 1700s
How has the Classical tradition (the art of Greece and Rome) continued to affect art through the
1700s? In what way have artists also turned away from the Classical tradition?
Although the question specifically addresses "through the 1700s" (UoPeople, 2017), I will go ahead
and discuss art from the 1400s through the 1700s, chronologically, since that's what Unit 4 covers.
Starting in the 1400s during the Renaissance era., we can see how the Classical tradition of
appreciating the human body and form carried over into Donatello's sculpture of David.
Looking at the sculpture, we can immediately see the similarities between these two time–periods.
The carefully sculpted muscles, the nude presentation, and the contrapposto are all representative of
the Classical period, indicating that the artists during the Renaissance period had an interest in
creating a more natural look (Harris and Zucker, n.d.). However, Donatello's use of bronze as the
medium is where this sculpture differs from the traditional stone that the Ancient Greeks and
Romans chose to work with. Also, while the Classical period is known for using idealistic
proportions, the Renaissance artists lean toward more natural proportions. ... Show more content on
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In addition to the Classical tradition of using idealistic forms, artists like Caravaggio used new
techniques, such as tenebrism and chiaroscuro (a strong contrast between light and dark), "tightly–
cropped compositions", and diagonal lines to engage the viewer, there–by creating a powerful and
dramatic scene (Camara, n.d., para.

Judith And Holofernes By Artemisia Gentileschi
Throughout the years artists have chosen to portray the same event in the forms of paintings or
sculptures, but often, due to the time period and views or values of the artist the interpretations differ
and the final products are vastly different. Two primary examples of this are Caravaggio and
Gentileschi who are both renowned artists of the Baroque era and style, which encompasses the
intensity of the colors, as well as the brutal subject matter that it entails.
Figures 17.9 "Judith and Holofernes (c. 1598)," by Caravaggio and figure 17.10 "Judith
Decapitating Holofernes (c. 1620)" by Artemisia Gentileschi both illustrate the same biblical story
of Judith seducing Holofernes and decapitating him to free the people of his oppressive rule.
Caravaggio and Gentileschi pick the precise moment of the decapitation and capture it with brutal
realism. These pieces when glanced at have a similar resemblance, but when one looks more deeply
their differences are put on display. The most apparent and most important difference that changes
these pieces entirely is the way the two artists choose to depict the nature of Judith. ... Show more
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Judith takes ahold of Holofernes head and begins to slice but her expression is one of uncertainty
and repulsiveness as she is standing away from the body. The maid stands besides her anxiously
awaiting for the act to be completed. In Caravaggio painting Judith is portrayed as young and
beautiful as well as more fragile and timid. Caravaggio uses an amplified chiaroscuro called
tenebrism. In his painting there is a dramatic contrast between a somewhat toned down light and an
intense dark. In his painting the darker shades are concentrated on Holofernes and the maid. The
light is casted upon Judith, which may be more of a use of symbolism of the heroines and virtue of a
young and beautiful

Giotto Vs Entommbment
Art is the cultural element that encompasses the achievements of an era. Giotto di Bondone's
Lamentation, painted in 1305, demonstrates the beginning of naturalism and the shift away from
feudalism during the Early Renaissance period, while Caravaggio's Entombment, painted in 1603,
exhibits the advancement of naturalism into a more dramatic, emotional form called tenebrism
during the Baroque period. Both of these painting were new for time, and they display certain
similarities and distinct differences. Giotto's Lamentation was painted in 1305 during the
commencement of the Early Renaissance. In the Early Renaissance, we witness a shift away from
medieval times. The Early Renaissance brings about huge economic prosperity and social shifts ...
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Caravaggio's, however, was darker and more dramatic. Caravaggio started an intense style called
tenebrism. Tenebrism is a more prominent form of chiaroscuro, where there are vehement contrasts
between light and dark. Fred Kleiner best describes Caravaggio's style, "In his art, Caravaggio
injected naturalism into both religion and the classics, reducing them to human dramas played out in
the harsh and dingy settings of his time and place" (Kleiner, 681). Caravaggio painted during the
Italian Baroque in the 1600's. Italian Baroque artists like Caravaggio embraced theatricality and
extravagant ornamentation, while Renaissance artists focused more on precise classical models.
Now Caravaggio wasn't exactly an upstanding member of society, most of what the art world knows
about him is through his police reports. Caravaggio's Entombment was created in 1603 and, like
Giotto's Lamentation, depicts the death of Jesus. While they both depict the same religious scene
and use styles that are new for their time, Caravaggio's painting has some drastic differences from
Giotto's. Caravaggio's painting is oil painted on canvas, which gives Caravaggio the opportunity to
be more detailed in his painting than Giotto can with fresco. Caravaggio creates these intense
dramatic scenes of diagonals and intense movement. Unlike Giotto, Caravaggio uses linear
perspective to direct his viewer's attention to the body of Jesus. Caravaggio does this by using a
diagonal cascade of mourners descending towards Jesus' body. Inclusively, Caravaggio started a
darker, more dramatic movement that gave naturalism a new realistic element. In general, both
Giotto's Lamentation and Caravaggio's Entombment are idealistic paintings for their times. They
both show the artistical achievements for their era by their use of detail and new techniques that are
available for them to use within their perspective paintings. These

Baroque Vs. Baroque Renaissance
The style that followed the Renaissance is usually called 'Baroque'. 'But, while it is easy to identify
the earlier style by definite marks of recognition, this is not so simple in the case of Baroque.'
Baroque is considered to be 'one of the great periods of art history', and it is generally identified as
being developed by Caravaggio, Gianlorenzo Bernini and Annibale Carracci. The Baroque period
developed in Europe in around 1600, and it can be seen partly as a reaction against the intricate and
formulaic Mannerism that dominated the Late Renaissance. Nevertheless, to see Baroque as simply
being a reaction against Renaissance ideals and norms is simplistic. Modern scholarship has
identified within the Baroque clear signs of a return to ... Show more content on Helpwriting.net ...
By synthesising these elements, I will establish how the Baroque can be distinguished from its
precursors.
The term 'Baroque', like many period designations, is not a complementary one. It had the
connotation of meaning 'bizarre taste' that does not follow the rules of the classical. This provides
one basic definition of the Baroque; its contrast to classicism, despite the fact that Baroque was a
reaction to, and an adaption of, the classical tradition. 'The word 'Baroque' was a term employed by
critics of a later period who fought against the tendencies of the seventeenth century, and wanted to
hold them up to ridicule. Baroque really means... grotesque, and it was used by men who insisted
that the forms of classical building should never have been used or combined except in the ways
adopted by the Greeks and Romans...'
After the idealism of the Renaissance, and the slightly 'forced' nature of Mannerism, Baroque above
all reflected the religious tensions of the age– notably the desire of the Catholic Church in Rome (as
annunciated at the Council of Trent) to reassert itself in the wake of the Protestant Reformation.
Thus, Baroque art became synonymous with the Catholic Counter–Reformation. Baroque art in
Catholic nations reflected the desire of Emperors and monarchs to strengthen their political position
and glorify their own divine grandeur. By comparison, Baroque art in

Itaylain Baroque
The artwork posted above is an attribution of the stylistic period of Italy and Spain 1600–1700.
Chapter 19 of the textbook describes two types two types of painting style, Itaylain and Spainish
Baroque. These two can be distinguish from each other by simply analysing the composition and
characteristic of the painting. According to what I learned in class and from reading the book,
Itaylain baroque emphasize their work on human dram and threaticalitiy, whereas Spainis baroque
focused on painting everyday life with increase interest in specific details like wrikes and so on.
Form observing this painting I strongly believe that is an Itaylian baroque painting from the stylistic
period of Italy and Spiain 1600–1700.111111111111111111111111111111111111111111 ... Show
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Spectacle and threacality are the use of light and shados to create a spot light effect, a term knows as
tenebrism. This effect mainly focuses on the on the human drama and main characters of the story.
When looking at the painting you will see that the background and the surrounding corners are very
dark and shadowy in color, however the chief priest sodiers dressed in balck donot seems to dispear.
The artist used bright and vabrime colors to reflect not only on the faces of the figures, but alos on
their skin and clothing. The skin of the men in the artpiece glose in the spot light effect, allowing
bright colors to contrat from dark once. Another attribute of the stylistic period is human drama. The
man standing behind Christ has his hands up with his mouth wide open as if he was screaming for
help. His rope fies over the figures heads suggesting motion and desperation. Jesus is the second
figure on the left with a red and blue gown on. It's amazing how the light different parts of his face.
The details of the wrinkles on his ford head and the position of his eyes suggests street, fear, and
disbelieve. He crush his hands together showing that his user pressure and tension. The third man on
the left of the painting appears to be Peter, because he seems to be protecting Christ from being
arrested. Peter's facial and body expression display anger and the

Caravaggio In The Calling Of St. Matthew
Caravaggio was born as Michelangelo Merisi in Italy around 1571. He was left alone at age 11 and
apprenticed with an artist in Milan. He moved to Rome, where his effort became prevalent for the
tenebrism method he used, which used shadow to highlight brighter areas. His profession, however,
was short–lived. Caravaggio murdered a man during a brawl and fled Rome. He died not long after,
on July 18, 1610. Even though Caravaggio was rejected after his death, he finally came to be
recognized as one of the founding fathers of current painting. The Calling of St. Matthew was
painted from 1597 to 1601 by Michelangelo Merisi (Caravaggio) through oil on canvas
(Biography.com Editors).
Additionally, Caravaggio transports this canvas to life with bright colors; bold contrasts of reds,
golds and greens and many surfaces of velvets and soft fur. He also contrasts gestures and
expressions and used the contrast principle to differentiate the bright from the dark, which creates
interest in the characters portrayed. He intends to tell us that the atmospheric perspective used in this
painting is to create depth, like the window behind the individuals. Additionally, the painting is
mostly organic forms, but the window can be classified as an organic form. This painting, along
with two others of St. Matthew by Caravaggio, was specially made for the Contarelli chapel situated
in San Luigi dei Francesi in Rome (Biography.com Editors).
Saint Matthew was one of the twelve apostles and he was a

Judith With The Head Of Holofernes And La Sultana Rossa
Judith with the Head of Holofernes and La Sultana Rossa represent examples of Italian Baroque
period painting which spanned the 16th to the early 18th century (Corrigan). Though the two
paintings Judith with the Head of Holofernes and La Sultana Rossa are considered from differing
centuries, they are both utilize specific and indicative Italian techniques true to the period of time in
which they were created.
The first work for consideration is Judith with the Head of Holofernes by Francisco del Cairo circa
1630/1635. This work, Italian Baroque, is identified as representative of the Caravaggista movement
which is realistic stylized baroque (Judith). In regard to the iconography of the piece, the main
subject, in the foreground, is a young Jewish widow by the name of Judith. Legend records her as a
heroic savior of her village after an attack by the Assyrian army. She is pictured with the severed
head of the Assyrian general, Holofernes, which she cut off in defense of her people (Camera).
Therefore, the purpose of this painting is to depict a religious Jewish icon and relate the dramatic
end of her story to the viewers. This oil on canvas is created with bold lines; however, the main
subject's face, Judith, is smooth and light unlike the heavier with thicker strokes and paint used in
the rest of the painting. Due to the horrific event, the scene is extremely dramatic. The artist utilizes
chiaroscuro with high contrast between light and dark to create shadows and an

Comparing The Portrait Of Sally Fairchild By John Singer...
For my term paper I decided to go to the Cantor Museum in Palo Alto, and I chose to focus on two
portraits of women from two distinct time periods. First, I decided on the portrait of Margaret
Blagge, Wife of Sidney, 1st Earl of Godolphin. This portrait was painted by the artist Matthew
Dixon in 1675, in the Baroque period of art. The portrait of Margaret Blagge was done in England,
and it was painted as an oil on canvas. The second artwork I chose to compare was the Portrait of
Sally Fairchild by John Singer Sargent. This portrait was done from the year 1884 to 1887 during
the Realism movement in art. The portrait of Sally Fairchild was painted in the United States of
America, and was painted as an oil on canvas. When comparing these two portraits ... Show more
Value is the relative darkness or lightness of a painting, and it assists in creating volume for a
painting as well. In Matthew Dixon's painting, the Portrait of Margaret Blagge, the value falls under
tenebrism. Chiaroscuro is the contrast between dark and light in a painting, and tenebrism is an
extreme case of chiaroscuro, with a violent contrast between dark and light. Dixon was able to have
Margaret Blagge stand out from the background by composing the whiteness of her skin directly
next to the darkness of the background. By using tenebrism, Matthew Dixon was able to achieve a
great deal of volume in his painting. Where the whiteness of Margaret Blagge's skin touches the
darkness of the background it is as though she can be lifted out of her frame. John Singer Sargent's
Portrait of Sally Fairchild, is different in comparison to Matthew Dixon's portrait, because there is
not much chiaroscuro in it. The most evident contrast between dark and light is the transition from
the shadows fallen on the left side of Sally Fairchild's body and her white skin. The contrast of
shadow to the face helps create the volume of her chin against her neck. Both paintings are different,
yet they both have a sense of volume, despite having used different

Essay Baroque Art in Europe and North America
Baroque Art in Europe and North America
Throughout this research paper the topic is going to be along the lines of the Baroque Art in Europe
and North America, which comes from chapter nineteen of our Art History book. The main purpose
is to review major ideas and principles in this chapter by writing an analysis of certain points that
were highlighted. For example, certain techniques that were used to define the Baroque Art, major
sculptures, architectures, and paintings, and also just some general background information about
this time period. I decided to write on this subject because when reading the chapters, the Baroque
period seemed to catch my attention the most due to the amazing architecture that ... Show more
First of all, the major types and techniques in this time era were genre, glazes, impastos', etching and
dry point, which is a technique where images are done on metal plates, and tenebrism or also known
as chiaroscuro. The paintings and sculptures of the Baroque period had some diversity them such as
large religious or historical paintings. Also, portraits of people, still life or shots and then finally
genre, which is just basically scenes that are taken or painted of everyday life. According to a
definition in the Art History book, "genre painting is a term that is used loosely to categorize
paintings depicting scenes of everyday life, including domestic interiors, parties, inn scenes, and
street scenes"(Stokstad Glossary pg. 5). Next skill was glazing and impasto and this was one of the
more simple tasks performed during the Baroque period. Glazing is just when the artist puts a layer
of liquid onto a piece of art and this gives it a waterproof and decorative surface. Then impasto is
just simply the application of thick layers of pigment to a painting to give it a clear texture.
Also according to our book in Art History, "Etching process, a metal plate is coated on both sides
with an acid–resistant varnish... then the artist draws through the varnish with a sharp needle to
expose the metal" (Stokstad pg. 772). In this process the artist can easily control the amount

The Life of Artemisia Gentileschi
Life of Artemisia Gentileschi
Italian Baroque painter, Artemisia Gentileschi was born in Rome on July 8th, 1593. Her father
Orazio Gentileschi, who was a painter himself, introduced Artemisia to the art of painting by giving
her lessons in his studio. At an early age, Artemisia displayed her interest in art and it wasn't long
until her father noticed potential in his daughter enough that she would be able to make a name for
herself in the male–dominated career. Artemisia had the desire to follow in her father's footsteps, it
was then that Orazio encouraged her to follow her dreams and decided to begin training her as an
artist. After collaborating on a project with the painter Agostino Tassi, Orazio hired him to tutor
Artemisia on perspective due to his skills with landscape. During one of their lessons, Tassi took
advantage of Artemisia and raped her. In their time, if a woman was raped, the man who was
responsible had to marry her. I find it odd knowing that back then it was considered normal for a
man to rape a woman that he wanted to be with and marrying her after. Sounds to me like women
had no choice, no say on who they wanted to be in relationship with. Sadly, in many cases the men
who committed the rape would flee from the situation to avoid getting married after getting what
they wanted. Even though the women weren't at fault, if unmarried women weren't virgins they were
seen as tainted, or no good for another man. After the incident had occurred, Tassi had

The Baroque Style
The Baroque style helped change the role of the viewers. Italian Renaissance kept viewers at a
distance from the work but played with varying perspectives making them "reflect intellectually on
what they were seeing" (714). Bernini helped develop the new Baroque style by allowing the viewer
to see the sculpture from all sides. The new "three–dimensional perspective" helps give David more
lifelike qualities by allowing the viewer to see the "lean, sinewy body, tightly clenched mouth, and
straining muscles" (717). Incorporating the viewer into the surrounding space, Bernini, "implies the
presence of an unseen adversary somewhere behind the viewer" recognizing the viewer as a part of
the sculpture and the action, a major component of the Baroque

Supper At Emmaus
I am going to discuss the representation of humans and the reflection of Renaissance themes in the
following paintings; Caravaggio's 'The Taking of Christ,' 'The Entombment of Christ,' 'Supper at
Emmaus.' I will also be looking at Dürer's 'Melencholia I.'
The most common themes featured in Renaissance art; classicism, individualism, secularism, nudes,
nature, youth and religion.
Caravaggio's 'Supper at Emmaus' has been constructed according to Luke's narrative in the bible
24:28–32. Dramatic theatrical lighting surrounding the figures in the painting is used to create a
sense of surprise that would be appropriate for a sense of miracle. The themes of religion/ biblical
art are the most prevalent in this painting. There is also a symbolic meaning to the choice of fruit
featured in this painting. The apple is significantly associated with the 'Temptation' and 'The Fall of
Man.' ... Show more content on Helpwriting.net ...
Each garment or item in the painting that is coloured seems consistent and stable despite the
juxtaposition between lightness and darkness. The central figure, Christ, is portrayed as both
youthful and beardless. With this portrayal of Christ comes a sensuality and sense of ambiguity. This
is not unlike figures shown before in Caravaggio's paintings of boys and angels. In the 'Supper at
Emmaus,' Caravaggio employed several different techniques for the positioning of the figures, for
example the use of 'abbozzo.' Abbozzo is rapidly executed, diagonal brushstrokes used as a rough
guide to the placing of forms. He also used 'rilievo.' This is a sculpture consisting of shapes carved
on a surface so as to stand out from the surrounding

Guido Reni Influences
Twelve years after the last session of the Council of Trent initiated the slow transition to the
Baroque period, Guido Reni was born. The boy from Bologna would grow to become one of the
predominant figures of this period that came into existence when he was a teenager. As a
classicizing Baroque artist, the almost divine grace and elegance that Reni is able to portray in his
artwork marks his presence and contributions to the Baroque era essential, even as his style and the
expectation of artists developed and changed. Born to Ginevra Pozzi and music master Daniele Reni
during the Holy Year of 1575, Guido Reni was thoroughly immersed in the arts from a young age.
Understanding the privileges and benefits that come with becoming a master of music, Daniele Reni
wanted his son to follow his example. However, Guido felt a stronger compulsion towards painting
and drawing, a pull that was noticed and encouraged by well–known and respected painter Denys
Calvaert. A favored artist ... Show more content on Helpwriting.net ...
What makes his style so interesting is the influence of the Carracci school on top of his own solid
foundation shaped by his first mentor, the Mannerist Denys Calvaert. In his paintings, Reni uses the
naturalism learned from Annibale to depict scenes on earth while using the more otherworldly
characteristics and colors of Calvaert to portray the heavens. These two influences fuse again in
Reni's figures, where the solidity of the bodies of Reni's saints and humans are naturalistic yet the
positions they occupy are sometimes very mannerist. His figures developed farther under Ludovico,
as he ". . . became more concerned with an emotionally warm and intimate expression and
rhythmically flowing disposition of the figures and draperies". The folding draperies added to the
grace and movement of his figures that appeared almost too perfect and beautiful to be

Summary Of Catharina Hooft And Her Nurse By Frans Hals
Catharina Hooft and Her Nurse is an oil painting done by the artist Frans Hals. This artist's work
embodies both impressionism and the caravaggio style. Hals was a popular Dutch artist that didn't
just paint objectively but aimed to express the true emotions of people to show individuality and
their true spirit. It was said that his technique for painting on canvas started with him outlining his
subjects or intended painting with chalk to add dimension.
The painting by Frans Hals symbolizes the wealth of which the baby comes from and the prosperous
pride of fertility. It portrays the lifestyle and the type of emotion people had when families arose.
With the use of tenebrism the artist uses heavy darkness and shadow to illuminate the focus

Art Of Caravaggio's 'Death Of The Virgin'
Section A Video
The large–scale painting of Caravaggio's work of "Death of the Virgin" shows a light relgouis style.
An example is a halo can be barely be seen on top of the Virgin Mary's head. The Virgin Mary
portrayed in the painting seems to have a contemporary Roman feel to her. Her is undone and her
clothes as well. Her feet are also bare , some say she looked a prostitute who had been dragged out.
Some monks even rejected the panting due to how she looks. Caravaggio's interest in the everyday
and the common life probably influenced this style. His mixture of the spiritual and physical world
is seen perfectly in this panting. This panting embraces real life emotions.
Section B Texts
One of the most widely imitated artists
An artist can sometimes feel sensitive towards his someone talking bad or copying his arts. One
artists named Michelangelo Merisi da Caravaggio felt that artistic originality must be a scared thing.
He even went too far lengths to threaten both the artists Guido Reni and biographer Giovannia
Baglion for copying his artistic style. Ironically Caravaggio had become the most copied artists in
the entire history of Western art. In 1610 Caravaggio had died not knowing how his masterpieces
styles had left their mark on the world. A lot of Italian and non–Italian artists who called themselves
followers of Caravaggio wanted to keep his legacy alive. Even though they thought of themselves as
'followers' they never had a Renaissance master–follower

The Calling Of St. Matthew
The calling of St. Matthew by Bernardo Strozzi is a master piece on display in the Worcester Art
Museum. This art work is inspired by a work done by Michelangelo Mersi Da Caravaggio
completed in 1599–1600 on a commission by the Contrarelli chapel, San Luigi Dei Francesi in
Rome. In this writing I will discuss the subject matter, major technique and style. I will further
conclude with discussing how the artist uses these different elements to tell the story in painting.
The painting is meant to depict the story from the bible, found in the gospel of Matthew (Matthew
9:9) " Jesus Saw a man named Matthew at his seat in the custom, said to him, "Follow me", and
Matthew rose and Followed him." In the painting strozzi represented Matthew as breaded

Botticelli's Influence On The Renaissance
I was assigned Botticelli, one of the great masters from the Early Renaissance. Botticelli was known
for his highly realistic, especially for the time, religious paintings and being a member of the Golden
Age art movement in the 15th century. He utilized a style known as "Gothic Realism" where flight
of fancies and interpretation were not taken on the works of art, but rather accurately depicting
scenes with realistic surroundings and figures were what was optimal to translate to the viewers. It
could be said that the study of the antiques that Botticelli did that influenced his work, influenced
the whole Renaissance period as we saw much more evidence of realism taking a role into paintings,
sculptures, etc. Unlike many masters, which he became ... Show more content on Helpwriting.net ...
These were just a few of his pagan paintings before the Bonfire of the Vanities where he began
focusing on Christian paintings. I wanted to depict another pagan myth, the story of Persephone the
Queen of the Underworld, as this was the subject matter I enjoyed most from Botticelli. Originally I
wanted to depict the anatomy of a goddess by creating an incision in Persephone's stomach
revealing an avocado inside, originally a pomegranate to stay in theme of the myth, as she stood
posed naked that was common in older paintings of naked god–like figures. I chose to work in
pastels for this project as it most closely resembled tempra, both being oil based. I began by
emulating his style by prepping the work with an underdrawing and painting to get the finer details,
such as the hyper realistic flowing hair that was common to his paintings of women, as well as
making the whole background pure black which was similar to his portrait paintings. After that was
complete I began laying down another layer of detailing with different vibrant colors that I saw in
his paintings such as orange, yellow, and pink. Finally I laid down the thin base layer for the skin
and hair and began smudging everything with tissue and q–tips to get the softer look that was
common to his paintings. Ultimately I'm not particularly proud of this piece but I don't hate

Who Is Caravaggio?
Michelangelo Merisi da Caravaggio's style of painting is a well–known flair that's as emphasize on
the field of artistic nature and realism. Caravaggio became one of most popular Baroque artists in
the Italian county in the 17th century. Caravaggio had many techniques that brought up revolution
about the painting, so this includes chiaroscuro and tenebrism. His new techniques of painting of
tenebrism and chiaroscuro took the center stage in the middle and north Italian country for being the
best and quality content. However, its popularity of painting was adopted by using various and
random people off the street. His art styles became popular and controversial, and his artwork
heavily relied on realism.
Despite his popularity, people will often find him unique and controversial artist. Caravaggio was
well educated perhaps Patristic, however, he often got in trouble with the law. He'd get involved bar
brawls. At one point in his life, he allegedly murdered someone and fled to the north part of Italy.
The film depicts his works became the greatest importance ... Show more content on
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The features had a diagonal light leaving the other part black on the canvas. The painting will have 2
shades of light and dark. Often his paintings will have darker shades in the background and the
illuminated parts in the foreground. For example, in Caravaggio's Conversion of Saint Paul, the
painting clearly showing the tenebrism. It creates contrast between the background and foreground.
The illuminated light signified the importance of Saint Paul, who is lying on the ground, both arm
stretches out and ready to embrace the "holy light" that struck him. The color effect on the painting
suggests the religious influence on the use of light. In other paintings, the lighting technique,
tenebrism, also depicts the calling of Saint Matthew in Biblical scriptures with the light illuminating
some men with traces of Jesus Christ in the

Baroque Art : Baroque Renaissance
Baroque Art After the idealism of the Renaissance during the 1400–1530's and the Mannerism of the
1530–1600's Baroque art found itself as the dominant style of art during the decade of the 1600–
1700's. The term Baroque derives from the Portuguese 'barocco' term, or irregular peal or stone – It
describes a fairly complex idiom which originated in Rome and became popular during the time
period in which Baroque art was prominent which embraced painting, sculpture and architecture.
The Baroque style quite nicely reflected the religious tensions of the decade, one of the most
markedly the desire of the Catholic Church in Rome to reassert itself in the aftermath of the
Protestant Reformation. Across Europe many high figures in the Catholic ... Show more content on
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There are at least 3 different styles of Baroque art, consisting of the religious grandeur which
consisted of an extravagant and melodramatic style of religious arts, a greater realism style that
focused on giving paintings a more life–like feel, and Easel Art which was a glossy form of genre–
painting – or pictures depicting situations and scenes of everyday life – aimed at the prosperous
bourgeois householder. Despite the Catholic Church's heavy relevance in Baroque art, in Protestant
areas such as Holland there the Baroque style had much less religious content and instead focused
on appealing to growing aspirations of the merchant and middle classes.
Gian Lorenzo Bernini & the Ecstasy of Saint Teresa Gian Lorenzo Bernini is regarded as possibly
one of the greatest scultor's of the 17th century, as well as an outstanding architect during his time.
He is considered the man who devised the style of Baroque style of sculpting, mastering it to such a
degree that other sculptors could only dream of becoming as great as Bernini. His career started
apprenticing under his father, Pietro Bernini, who was a

Peter Paul Rubens Raising Of The Cross Essay
The piece that stood out to me the most from the readings was Peter Paul Rubens' The Raising of the
Cross. I believe the piece is a culmination of influences from his predecessors and contemporaries
and religious works of the Baroque period. I also see this work in particular as a very obvious
embodiment of emotional realist art, though with its own original and unique interpretation of the art
style. It is apparent that the Carracci brothers' Ceiling of Gallery inspired Rubens' work. From
studying their work, Rubens learned anatomical accuracy and realistic physical representations of
bodies. In Ruben's painting, the bodies depicted are all realistic and anatomically probable, a stark
contrast from early humanist work which illustrated huge, heroic, near science–defying bodies that
were more akin to mythology than actual beings. The figures in Rubens' work are certainly
idealized, with Christ being very muscular himself, but there is also believability to their depictions.
For example, the old woman on the side mourning Christ's crucifixion is thoroughly detailed, and
simply looks to be real, or something we would perceive in day–to–day life. ... Show more content
on Helpwriting.net ...
Caravaggio was known for his realistic, dramatic, emotion–evoking works, which is mirrored in
Rubens' The Raising of the Cross. Rubens' painting evokes a lot of emotions for the audience and
transcends classical art forms that simply evoked thoughts detached of emotion. Rubens' also
utilized a technique that Caravaggio popularized: tenebrism. In the Raising of the Cross, all
peripheral figures are dimmed and in the dark, while Christ, the focal point has a bright light cast
upon him, to draw viewers closer to Christ, literally and

Artemisia Gentileschi Research Paper
Artemisia Gentileschi and Judith Leyster were pioneers as women artists in the 16th–17th century
Baroque period. They both were very talented and successful in their artistic careers despite being in
a time where men dominated this field. Although they have this in common, their unique talents
contributed to the Baroque art period in different ways. The 16th and 17th century consisted of
Baroque art, in everything from paintings, statues and architecture. The term was thought to have
derived from the portugese word "barroco" which meant "irregularly shaped pearl." It was orginally
used to criticise something, so anything that looked unusual or preposterous was considered
Baroque. Baroque art was dynamic, emotionally intense, naturalistic ... Show more content on
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In still lifes, an arrangement of objects are placed and in vanitas, still lifes had specfic objects
arranged that symbolized life and death. Genre paintings often depicted people in their everyday
lives. Judith Leyster, another of the very few and accomplished woman painters of this time, did still
life and genre paintings. Like Artemisia, she also accomplished a first as a woman artist. In 1633 she
was the first woman admitted into the Luke's Guild of Haarlem. Although she did still lifes, her most
common works were genre paintings, which often potrayed people looking happy and full of life
doing everyday casual things. One of her most notable, is her own Self–Portrait. In her self portrait
she is shown smiling and painting a picture of a violinist who is also smiling, as he plays his
instrument. This painting symbolizes how just like the violinist creates art with his instrument and
bow, she herself, who is a painter, creates art with a paintbrush and pallete. Although the subject
matter and style isn't as dramatic and dark as Artemisia's, it is considered Baroque because it is also
naturalistic and shows people

Summary Of The Ponte Salario
The portrait that I decided to analyze was called The Ponte Salario by "Hubert Robert. The reason
that I decided to choose this painting was because it had a very natural feel to it. The painting takes
place outdoors and there is an older building that looks as if it dates back thousands of years. The
bridge connected to the tower made of rock which looks very run down; I am assuming it is from
age. According to Robert 'The Ponte Salario takes its name from the Via Salaria, the old route
linking Rome and the salt–producing areas of the Sabine country. The Ponte Salario is one of the
oldest of Rome's bridges. Now that we have some background on this painting let's look at some
physical properties about this painting
Physical properties, in other words, are describing what you see. When I look at this painting I see
many shapes displayed. According to Fichner–Rathus, Lois.in the book
Understanding Art, she described shapes as "distinct area on a two–dimensional surface that can be
created in several ways; by connecting lines to itself, thereby enclosing an area.' The main shape that
caught my eye in this painting was the rectangular shaped rocks use as siding on the outer layer of
the tower. The technique that was used in this painting was tenebrism.
Fichner–Rathus stated that 'when people and objects are sharply lit, as with the use of tenebrism; the
lighted areas of these objects and their accompany can be exaggerated.' I believe this is what

An Analysis Of Miguel De Cervantes Of The Northern...
In the late–16th century, the era of Renaissance greats such as Michelangelo, Da Vinci, Raphael, and
countless others gave way to the emergence of the Baroque period. In this era, lasting until the mid–
18th century, those who lived hearing of the perfection and constant happiness that resulted from the
excellent discoveries and works of art of the Renaissance came to a sudden realization of reality.
These men and women who lived through the Renaissance as children demanded something new as
they grew disillusioned with these promises of greatness. Eventually, this confession of the desire
for change instigated the demise of the Renaissance era, similar to John Ruskin's explanation of how
humans cannot live in a world without variety and change ... Show more content on Helpwriting.net
...
A man who was often on the run from the law for getting in fights and even murder, Caravaggio did
not care for the Catholic Church and even developed a slight resentfulness towards the organization
as multiple artists whose paintings were funded by the Church often did. This being said, the Church
was Caravaggio's main source of income and even bailed him out of jail on one occasion, so he
reluctantly agreed to paint biblical scenes. However, Caravaggio did little things like using
prostitutes to model for his paintings, publically claiming reality as his teacher rather than the
Catholic faith and Bible, and finally by painting the underbelly of the Bible all to express his
negative opinions of the Catholic Church and the aristocracy (Erlandson). In his portrayal of dark
Biblical scenes, Caravaggio also revolutionized Renaissance art by making his paintings physically
dark as well as extremely realistic, as he "portrayed sacred religious personages as real, common
people, complete with bare feet and dirt under their fingernails" (Artble). Caravaggio used shadows
to darken individual parts of his paintings, or tenebrism, and the major contrast between dark and
light commonly in the background of his paintings, or chiaroscuro to achieve this physical darkness.
The use of tenebrism is evident in Caravaggio's Supper at Emmaus, in which each of the persons in
the painting have

Artemisia Gentileschi Essay
Artemisia Gentileschi
(1593–1653)
Considered one of the most important artists of the Baroque movement in Early Modern Europe,
Artemisia Gentileschi, had to prove herself and break down the boundaries for a woman in a male
dominated field. Artemisia was born in Rome on July 8, 1953 to Orazio and Prudentia Monotone
Gentileschi, who died when the artist was only twelve years of age. Her upbringing was left to her
father, who was also a well–known painter. He trained her since she was not permitted to learn in
the studios of successful artists of the moment. Orazio introduced his daughter to the working artists
of Rome including Caravaggio, whose tenebrism technique and chiaroscuro style had a great
influence on her paintings. ... Show more content on Helpwriting.net ...
Tassi denied all the accusations and brought several witnesses to testify on his behalf, but possibly
the most infuriating part of his testimony for Artemisia was when he stated that on the day of the
rape he was teaching her the rules of perspective because her skills were pathetic. Nevertheless,
Tassi was found guilty but regrettably only served under a year in prison.
After the trial was over, Artemisia was married off to a Florentine artist by the name of Pietro
Antonio di Vincenzo Stiattesi in order to regain some of her reputation. It is believed that the couple
moved to Florence shortly after their marriage, because Rome proved to be a very difficult place for
them to live due to the public notoriety Artemisia had received from the trial. During her marriage to
Pietro it is believed that the couple parented a daughter by the name of either Prudentia or Palmira.
Regrettably, the marriage did not last long, but there is evidence that the couple worked at the
Academy of Design in Florence and in 1616 Artemisia received the extraordinary honor of
becoming an official member, most likely due to the support of her patron, the Grand Duke Cosimo
II member of the notable and influential Medici family, whom had commissioned several of her
paintings.
Even though Artemisia had to struggle with many difficulties early in her life she was able to draw
strength from them and turn them into unique pieces of art. In the words of John Loughery,
"Exacting craft is one

Tenebrism In 1600s
Art plays a big role in history, and continues to be a big part of every culture in the world. Art gives
everyone a way to express themselves whether it is a personal reason, or about society in general. In
each century a new way of creating art was introduced and is respected to the day and still practiced.
Tenebrism was introduced in the Baroque era of the 1600's. This is an art form related to realism that
was mastered, before tenebrism was later seen. The start of this art form came about, because of
what was happening in society in the 1600's. In the Baroque era there was a guy named, Caravaggio,
who is considered the founder of the art of tenebrism. The art of tenebrism tells the history of
Europe with using light and dark colors in the paints for adding effects for the viewers. This started
in Rome when the problem of different churches started to branch off of the Catholic Church. These
religious consisted of Lutherans and Protestants were the main ones, and became a huge problem for
the Catholic Church, because up until then that was the major big religion. Tenebrism was used
mostly as propaganda in an effort to get people to continue with the Catholic faith and nothing else.
Caravaggio was going through a difficult ... Show more content on Helpwriting.net ...
The dark background relates to the fact that in the Baroque era, they were going through a dark time,
almost to say lead by a dark force that was taking away people from the Catholic Church. These
different religious were also mostly only believing in God or Jesus, and my opinion is that all these
paintings didn't just focus on them the also included angels, Mary, or anyone else considered
important in the Catholic faith. That is why I think that they only highlight the face to give these
different people to acknowledgment them and everything else is casted in the dark with the

The Use of Light in Bill Henson and Caravaggio's Work Essay
Through the use of light, artists continue to receive a strong emotional response from the audience.
This is an essential element of an audience's perception of a work – it may determine whether the
artwork is perceived as happy or depressing, or even provides the difference between whether the
work is friendly and welcoming, or shocking and confronting. Artists have used light for a long time
to stimulate the emotions of the viewer. Two artists that have used this technique are Bill Henson
and Michelangelo Merisi da Caravaggio, or more simply known as just Caravaggio. Bill Henson is a
contemporary Australian photographer, born in 1955, while Caravaggio was an Italian painter (1571
– 1610).
When Henson's photographs are viewed through the ... Show more content on Helpwriting.net ...
This is why his art was so successful in reaching his audience and connecting him with the art
world. This is a similar concept in Henson's work. Most of his subjects are human figures, assisting
him in the representation of his ideas in a confronting, direct, and sometimes controversial way. The
way that Henson achieves the same effect of chiaroscuro in his photographs as Caravaggio does in
his paintings, is through his underexposure and adjustment in printing.
Henson's work is powerful, creating an illusion of both a painting and a film through a combination
of different techniques that make his work unique. The most prominent feature and device of
Henson's work is his use of light. The majority of his work features dark tones and colours,
sometimes slightly tinted with yellow, red or blue. The brighter portions of Henson's photographs
and his use of light is tactically well controlled to uncover only crucial details. In some of his
photographs, Henson juxtaposes the colourful yet mysterious, distant city lights through the use of
bokkeh, with the underexposed, graphic images of the subject in the foreground. Some examples of
this in his work include several images from the Untitled 2000/01 series, such as the girl sitting, the
girl that is lying down, yet at the same time positioned so to look as if she is in flight, and another
image of a girl lying on her stomach,

The Calling Of St. Matthew By Caravaggio
The painting, "The Calling of St. Matthew" by artist Caravaggio is an oil on canvas, which is 10' 7
½" x 11' 2" with a fake frame that has been painted. It shows five figures sitting in a dimly light
room at a table and two standing figures to the right, one of which has a halo. There is a left
horizontal axis with diagonal lighting. The contour is soft with a variable line of people sitting at a
table in overlapping positions. The two standing figures to the right are Jesus and Peter, of which,
Jesus is the one with the halo. The hand of Jesus is extended outwards underneath the cross of the
window. Caravaggio used a palette of color consisting of a bold contrast of reds, golds, and greens
along with various textures of velvets and soft furs. The location of this painting is at the Contarelli
Chapel, Church of San Luigi dei Francesi, Rome, created in 1599–1600. ... Show more content on
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The dramatic movement, balance and alignment, harmony and orientation of horizontal perspective
are some of the principles of design. A contrast of light and dark, with the figures displayed in a dark
brown atmosphere gives a feeling of warmth. The light and shadow effect is directed to intensify the
figures, a technique called tenebrism. The component of triangular light gives a naturalistic
perspective. Using gestures and postures is a portrayal of dramatic movement and the effect of oil on
canvas gives a lustrous and captivates the vivid

The Baroque Period Was A Time Of Conflicting Religions,
The Baroque period was a time of conflicting religions, and is one of the major movements in art
since the renaissance era. Beginning in 17th century Italy and later spreading into Northern Europe,
the Baroque era was one that had a mission and an objective in mind: to restore faith back into the
Catholic Church and to counter the growing conversion of protestants. Having already launched the
counter–reformation in the 16th century, it did not fare well against Martin Luther's Protestant
Reformation and his 95 thesis of debating points in 1917. Protestant believers argued that faith was
the one and only way to earn salvation and god's grace. Luther accused the church of nepotism and
was able to announce protestant as new branch of ... Show more content on Helpwriting.net ...
Saint Mathew, the figure of interest, is pointed out by the implied lines created with the lines of light
and the pointed hands. One symbolic feature recognized in the piece is the hand of god replicating
that of Adam's hand from Michelangelo's Creation of Adam. This made reference to god being seen
as the new Adam, due to how Adam's action created sin, which resulted in the fall of humanity,
Christ undoes Adam's actions by dying on the cross (McDermott, Mar. 5, 2017, Chaffey College).
According to Painting Techniques used by Caravaggio: Chiaroscuro, Tenebrism, "[Caravaggio]'s
treatment of light and shadow helped to reinvigorate Italian painting by improving the three–
dimensionality of figures. In addition, it allowed artists to control the focus of the painting, thus
increasing its dramatic content. Lastly... it enabled greater emotional depth and characterization."
Due to this, Caravaggio was an asset to the Counter Reformation and allowed people to relate to his
paintings and thus gain appeal to the Catholic Church.
Second, we have Zurbaran who is a Spanish painter during the Baroque era. Influenced by the
Italian artist Caravaggio, he too used tenebrism to create a dramatic and impactful effect in his
works. Also reminiscent of the Italian Baroque is the way that the figure is represented as a scrappy

Essay On Artwork: Johannes Vermeer
II'm presenting my Artwork, Johannes Vermeer, View of Delft, c. 1662, Oil on canvas, 38½" X
46¼" (97.8 X 117.5cm). I traded a famous painting, Louis or Antoine Le Nain, A Peasant Family in
an Interior, c. 1640, Oil on canvas, 44 ½" X 62 ½" (1.13 X 1.59 m) for this excellent Masterpiece of
Vermeer. Vermeer painted a well–detailed picture of the city of Delft, his hometown.
The painting is no ordinary pictorial reflection of Delft, but Vermeer put together a collage of
buildings from the city to create an enhanced composition. The city has a calm silent tone or mood
with no hectic motion. The light blue cloudy sky is an intricate part of the town. The front
architectural buildings are darkened by the pending storm–laden clouds and the city

Art Criticism Of The Baroque Era
The Musicians "In art criticism, the word Baroque came to be used to describe anything irregular,
bizarre, or otherwise departing from established rules and proportions," (Britannica, 2016).
Caravaggio, born Michelangelo Merisi (1571), an Italian painter, can be said almost single–
handedly to have created the Baroque style during the late sixteenth and early seventeenth centuries.
None other can be more appropriately defined as "Baroque" than Caravaggio; his character, like his
art, was confrontational and uncompromising, and both loved and hated. "He introduced a
powerfully frank realism and dramatic, theatrical lighting and gesture into Italian Baroque art.
Caravaggio's unvarnished realism and tenebrism influenced nearly every important European artist
of the seventeenth century."(Stokstad, Cothren). By the end of the 16th century, art began to break
away from the refined and disciplined style of mannerism, heavily influenced by the Counter–
Reformation of the Church, and emergence of powerful monarchies. This movement comes to be
known as the Baroque Era. Baroque artists were particularly focused on natural forms, spaces, color,
and the use of light in order to create a strong emotional experience; almost theatrically, inviting the
viewer to participate in the story. The Catholic Church found itself needing to influence and rebuild
its following; turned its' attention to the arts. The Counter–Reformation used the arts to appeal as
much to the emotions and knowledge

Caraavaggio
Renaissance And Baroque Art
Caravaggio
Caravaggio was an Italian painter born in Milan around 1571. He is considered one of the fathers of
the modern painting. His father was called Fermo Merisi, who was an architect decorator and a
household administrator. His mother was called Lucia Aratori and she came from one of the
Propertified families in the region. In 1576, the family relocated to Caravaggio to escape the plague
that devastated Milan. His father died in 1577 and the mother died in 1584 (Frank, 2013, p. 292).
Caravaggio remained an orphan at 11 years of age and he was apprenticed in Milan. When he later
went to Rome, his work became accepted due to the technique of tenebrism he used which involved
the use of shadow for

Judith And Maidservant
In Artemisia Gentileschi's Judith and Maidservant with the Head of Holofernes Judith is depicted
with her maidservant after the head of Assyrian general Holofernes has been chopped off. The
Assyrian Army was to beseech Judith's town Bethulia. Judith is a jewish widow, who was invited to
have dinner with Holofernes. After a night of drinking she attempts to seduce him in order to chop
his head off, and save her people. This is the second image in a series of three Gentileschi produces,
here she has succeeded in her mission, and is attempting to get away.
In this work I have conflicting opinions about what is the focal point. The focal point is the area of
the work where the eyes are drawn, or where the eye tends to focus. I see two main focal points one
being Holofernes's head at the bottom of the work where all the light is filtered. Also I see Judith's
gesture also being the focal point. She is ... Show more content on Helpwriting.net ...
Judith is holding Holofernes sward which she had just used to hut his own head off with. When I
first looked at this work I wasn't sure if I just couldn't see Holofernes body or if just his head was on
the pictured. The way the Maidservant is holding his head and the presence of the sward tells you a
violent act had accred. The maidservant is also a secondary focal point she seems to be hastily, and
quietly wrapping up the generals head before the two are caught. While also watching Judith to see
if they are in danger. The technique tenebrism created by Artemisia is a form of chiaroscuro where
balance between light and shade are used to emphasize certain parts of the artwork. Tenebrism witch
means murky (Pg105) is large areas of dark contrasting sharply with smaller brightly illuminated
area (Pg 105). Artemisia is excellent at using the light to only illuminate and emphasize what she
wants you to focus

How Did Manet Portray Women Naked In The 19th Century
Such a scandal it was to paint women naked in the nineteenth century. Not a goddess or a mythical
creature, but a real, contemporary french woman. No matter how beautifully it was painted, this type
of subject matter was simply not supposed to be done. This was such the case for Édouard Manet, a
french painter in the nineteenth century. In 1863 he created Le déjeuner sur l'herbe or The luncheon
on the grass, an oil on canvas impressionist style painting. Not only was there controversy in the
subject matter but in the way it was painted as well. The luncheon on the grass depicts four people;
two men and two women, having a lunch out in the woods. The two men appear to be locked in
conversation while they sit with the company of a woman in nude. The woman's clothes in scattered
in the left hand corner of the painting, as if they were quickly shed off her body. The second woman
appears further back in the composition, standing in a small pond. All three appear to be dressed in
contemporary ... Show more content on Helpwriting.net ...
They had the capability to take a photograph of what they desired to paint, and then return to their
studio to paint it. This brought rise to a more photographic style of painting, which often flattened
the subject matter. This can be very easily seen here in Manet's painting. One could say it was a
lighter version of tenebrism; the technique that used harsh light and darks. typically in this style of
painting the figures are in extreme light while the background is rather dark, similar to what
photography lightly would give. The woman in nude appears in a very bright, stark manner against
the dark clothing of the man she is sitting beside. She appears very flat, almost as if she was cut out
from another painting and placed there. Tenebrism isn't the only technique used to create this
painting, for the brush strokes move away from clean and precise lines to more impressionistic

Prometheus Bound
Visual Analysis: Prometheus Bound Peter Paul Rubens' painting, Prometheus Bound, is a large oil
painting on canvas currently on display at the Philadelphia Museum of Art. The painting is
approximately sized at eight by seven feet and portrays the Greek Titan Prometheus chained to a
cliff as his liver is eaten by an eagle. Rubens captures and allows the viewer to experience the most
dramatic and gruesome moment of the myth, when the majestic bird attacks the Titan, by
implementing the tenebrism technique, a unique composition and perspective, and symbolism.
Prometheus Bound was painted by Peter Paul Rubens with assistance from Franz Snyder during the
Flemish Baroque period in the South Netherlands. Rubens started the piece in 1611–1612, however
... Show more content on Helpwriting.net ...
For example, in the myth, Prometheus steals fire from the gods to give to the struggling humans,
which ultimately led to the progression of humanity. The flaming torch in the bottom left is a
symbol and attribute for Prometheus, however it also represents his crime. Also, according to the
myth, when Zeus, the king of the gods, discovers that the Titan defied his orders and stole the fire
from Olympus, he punished Prometheus by expelling him Olympus, chaining him to the top of a
mountain, and sentencing him to have his liver eaten by an eagle every day for all eternity. The
eagle, however, is not just a part of the story. The predatory bird is a symbol of Zeus in Greek
mythology. Another symbol for Zeus is storm clouds, because he is the god of the sky and lightning.
In the painting, the sky is full of dark grey and tumultuous storm clouds, which may represent Zeus'
anger at the Titan, while also conveying a serious tone. The painting also reveals green land in the
distance and far below the peak of the mountain. Rubens may have included the green scenery in the
background, behind the cliffs and Prometheus to emphasize the Titan's isolation from the rest of the
world as part of his punishment. The chains in the painting also convey a sense of isolation,

Analysis of the Triumph of Divine Love
The art piece that I selected for my analysis is called The Triumph of Divine Love by Peter Paul
Rubens. The artwork is an oil painting on canvas, circa 1625. This piece of art was commission by
Isabella Clara Eugenia, Infanta of Spain and Portugal. The Triumph of Divine Love was one of
eleven art pieces in a series portraying the Eucharist cycle, an important issue in the Catholic–
Protestant strife. Its purpose was to aid in the Catholic Reformation and the artwork was to be
displayed at the Convento de las Descalzas Reales in Madrid. (Ringling Museum n.d.)
The scene it portrays shows a woman holding an infant while she stands on a chariot drawn by two
lions. Surrounding her in the air and around her feet are sixteen angels or ... Show more content on
Helpwriting.net ...
There are also several doves at the bottom of the painting, presumably indicating purity and perhaps
symbols of love as well. (Wall Text 2012) The focal point of the painting is the woman with infant.
This is shown by the lighting in the painting being directly on her, the bright red that she is wearing,
and the circling of the putti around her figure along with the majority of their gazes being directed at
her. The bright light directly behind her and the infant could possibly be coming from the sun behind
the clouds in the sky, the putti to her upper right holding the torch, or it could be symbolic in that it
is the infant's halo and representative of his divine nature. The overall piece is not overly dark but
the lighting seems to be most focused on the woman, infant, her other children, and the flying putti.
This is an example of tenebrism. The flying putti are shown in a ring around the woman, some
holding hands. Some have feathered wings; others have either insect or fairy–like wings. They all
seem to have individual faces and expressions and all express happiness. The putti are contorted in
different positions as they fly in the air, and Rubens uses foreshortening with the limbs to achieve
this and show movement and action in the piece, especially with the two putti directly above the
woman's head and the back of their feet showing to the viewer. He also uses chiaroscuro to give the
putti volume shown by the lighting

Analysis Of The Poem ' The Fountain '
Tommy in the Fountain is a character faced with the dilemma of mortality in the physical realm and
can not accept the grim, inevitable death that faces all of humankind. In the world of The fountain,
there are three planes of existence which correlate to the past, present, and future/consciousness.
Darren Aronofsky intertwines these three times periods creating a nonlinear perspective of time, but
it is in line with the general plot of the movie. Aronofsky wants the viewer to link the time periods
together where the past is the story depicted in the book, and the future can be seen as his
consciousness. A character that stays apparent in these settings is Izzi. Izzi guides the main character
to accept the grim fate of death and to reach a state of knowledge which will potentially enlighten
him. She helps Tommy understand the meaning of death by bringing the immediacy and expectancy,
and forcing Tommy to finish it, referring to the book and his understanding of death. Completing the
book results in the journey that Tommy takes to enlightenment, the acceptance.
The relationship between these characters really create the whole importance of realizing death is
ultimately an act of creation. Present day Tommy is faced with a cancer stricken Izzi where she is
enlightened during her death and "immortalized". Izzi is also depicted as the tree of life in Tommy's
consciousness and Queen Elizabeth of Spain. The Tree of Life is a symbol of immortality, with Izzi
dying in the

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