UNIT V ASSIGNMENT
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artgallerypp2.pptxChristian Art Vilma C. Pena Columbia Southern University July 21, 2017
Art and religion theme
Introduction –religious art works support moral message of religion. The art works purport to illustrate in context any set of human beliefs that they regard sacred, spiritual and divine.
Religious art date as back as the Renaissance period. Religious themes were often commissioned by well to do patron including the pope. Religious artworks were among the best Renaissance art work.
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Art and religion theme
Introduction -Brief explanations of the theme and its elements using supporting facts.
Close to a third of paintings in the national gallery of western European art are of religious subjects. The theme reflects that after classical antiquity religion became unanimous. The images made to inspire and strengthen faith through private and public devotion.
Religious themes use elements of symbolism, narrative, ritual, iconoclasm, calligraphy and authorship in expressing tenets of beliefs through out history.
Religion and spirituality has been a theme of art for many areas. Religious arts make use of motifs.
Christianity for example illustrates various principles and narratives of religion. Christianity make use of elaborate iconographic systems, whereby each saint is associated with a particular object or animal. Example is saint peter with keys and depicted with a shamrock for audiences to covey the narrative.
In India Buddhist art flourished, while Tibetan Buddhist was created as a meditation practice. An example of the meditation art is the sand mandala made and used by monks.
Islamic art, on the other hand, prohibits representational images of religious art. The artworks comprise of calligraphic decorations and repetitive geometric patterns. Geographic patterns make up of non-figurative types of decorations in Islamic art.
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Last supper Leonardo da Vinci 1495-1498 painting
Artwork image
(Goldscheider, 1959)
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Visual Elements
The angles and lighting draws attention to the centre of the composition
The picture measures 15 feet by 29 feet
The painting is a wet Fresco painting
The painting provides for a linear perspective
uses gesture
Jesus is given a triangular shape
illusions to the number three
immaculate detail of still life
Time and motion is included
The picture depicts reaction of each of the disciples to the news declared by Jesus that one of them will betray him. The picture has a straightforward biblical interpretation. It is the first real example of high renaissance aesthetic.
The angles and lighting draws attention to the centre of the composition. Position of Jesus at the vanishing point where all perspective lines meet.
Artwork is heavy on the front with emphasis on the characters reaction to what was revealed by Jesus.
The silhouettes have been delineated until an integral composite scheme was obtained.
Double circular incisions used to delimit the outline of the wreaths
Upper part of the fresco creates optical illusions of deeper row of arches. Illustration explained by use of windows in each lateral wall. Illumination used to give light and shade to the room.
Parallelism creates distance between observer and perspective plane- between the diagonal refectory and line running from the eye of observer to vanishing point. Perspective is identical
The picture measures 15 feet by 29 feet occupying end wall of the dinning hall at the covert of Santa Maria delle Grazie in Milan.
Time and motion as the scene takes place at night with characters placed in motion
The painting is a wet Fresco painting- Leonardo first sealed stone surface and painted over it with tempera oils.
The painting provides for a linear perspective
Leonardo uses gestures.
Painting contains number of illusions to the number of three-disciples seated in three, three windows that are rectangular in shape. The rectangular shape is used a lot in his illustration from the shape of the room to the sides of the room.
Jesus is given a triangular shape marked by his head and outstretched arms.
All items portrayed immaculate detail of still life. One can clearly make out the lace of the table cloth, transparent wine glasses, pitchers of water.
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Design Principles
Formal balance is dignified, stable, ,more static and symmetrical
Informal balance is asymmetrical.
Fluctuations in humidity caused the painting to crumble off the wall.
Schematic linear dispensation of actors
Various linear implied techniques.
The focal point is on Jesus the saviour as the events that happen of the painting at geared at describing his manifestation.
The colour scheme is polychromatic
There’s a touch of mundane in details of feet, sandals and intrications in facial musculature.
The painting is human and its in complete contrast to the serene and expansive gesture
Protagonist occupies centre of composition, Christ isolation.
Repeat of windows on the background as well as the side rectangular arches.
The characters are proportional t5o one another with each group divided in threes
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The last supper
Explanation of background
The painting depicts famously scene from Holy Thursday. Jesus and his apostles share a final meal before his death and resurrection. Jesus reveals the one to betray him. Vinci depicts him as a spilling salt on the table as part of renaissance pun. Leonardo was a renaissance man. The work began in 1495 and was completed around 1498. the painting drama is heightened by composition and details. Each figure is unique and memorable down to the smallest of details. The last supper is the most reproduced paintings in the world.
The room terminates at the three windows with a beautiful landscape. The landscape in the background terminates in a kind of misty, greyish horizon. Colours become more dull and colourless- aerial perspective. Renaissance artist create illusion of depth in landscape scenes. The painting shows a rectangular room with coffers on the ceiling and tapestries on either side of the room.
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2. Nozze di cana Paolo Veronese 1563 painting
Artwork image
(Hanson, 2010).
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Visual Elements
The Louvre Museum in Paris houses the impressive painting of Paolo Veronese. The formal 70 squared meter art training contemplates aesthetic and technical element.
Of the 130 figures, only Jesus is surrounded by a pale glow.
Contemporary costumes
Luminous colors-yellow-orange, vivid red and lapis lazuli contribute in individualization of figures
Two sections of composition
Blue sky signifying day time scene-the painting contains ultra-marine in great quantities even in large areas
Terrestrial section bustling crowd
Implied shape could be rectangular. It is shaped in separate sections in rectangular fashion
He developed quiet drama through creation of pensive mood which tinged wealth with certain melancholy.
Veronese dynamic arrangement of the planes to make unequivocal Palladian with a background of clear sky opening up the walls and carefully orchestrated movement of groups of figures, whole bathed in triumphant luminous hues.
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Design Principles
The painting clearly shows symmetrical balance through its entirety people are dispersed in an equal manner.
Building are also proportional
The painting an asymmetric and unnatural elegance
Emphasis of painting is on the front part, through variety of different unique colors portrayed by people at the event.
He uses boxes to highlight various scenes or groupings
Details in the painting is staggering
Geometric lines arrange in sharply red.
The focal point is at the gathering with Jesus.
The characters are proportional to one another spreading across the entirety.
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Nozze di cana
Explanation of background
The landscape in the background terminates in a kind of misty, blue sky covered in day time clouds. Colours become more dull and colourless- aerial perspective. Renaissance artist create illusion of depth in landscape scenes.
He effectively uses color to blend into the horizon with a good dimensional representation of birds from a distance. He also captures a structure unanimous during the renaissance period of architecture.
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3. Sistine Chapel ceiling Michelangelo 1508-1512 painting
Artwork image
(Seymour, 1972).
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Visual Elements
Michelangelo’s Frescoes ceiling of the Sistine chapel is one great example of renaissance painting
Uses over 300 figures depicting stories of the book of Genesis
Uses bright colors of the frescoes
Color throughout is calculated to enhance total sense of structure-ceiling dominated with soft grey and whitish tones of the stimulated marbles and grey-blue for the sky
Separated into 33 areas with different scenes
In the triangular spaces he panels ancestors of Christ
Figures of second section are grander than those in the first depicting drunkenness of Noah
The skin tones of the figures are pale peach and robes painted in pale pastels.
Glowing ball lighting the whole image.
Much of the work is moving –image of disaster and love of a father holding his drowned son
The first section contains sharp discrepancies in scale between large figures that crowd within them-there’s little sense of unity in design among various components of the entire painting.
He integrates elements closely moving observers eye from one to the other in the west end above the altar- one for the prophets another seated nudes, bronze colored nudes and the scenes in the central of the rectangles and the corner spandrels.
He maintains a diagonal motion of scenes to the next from the scenes to the nudes across intervening barriers.
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Design Principles
The painting is separated into different segments by use of rectangles
The painting has a symmetrical balance on its entirety.
Blended frescoes colors are preferred rather than oil paints, creating figures with clear outline
The chapel was painted with bright colors that daringly harmonize
Various story lines give the painting a variety impression to the viewers.
He understood human forms and was beautifully entity that should be naked or wearing a simple robe
He had a keen eye for light and shadows grasped in both shape and volume
Each segment was symmetric with emphasis on the human forms through the narrative portrayal
Certain scenes were divided unequally in the segments like in creation of the sun, moon and plants.
Use of contrasting images into one panel, that of adam and eve expulsion and temptation
Repetition is used in separating the various paintings in their triangles-two human forms are used across.
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3. Artwork Title
Explanation of background
Originally the ceiling was painted blue and covered with golden stars.
The various segments were from various scenes in the old testament. Warm colors were used in the background. With emphasis on the front storyline.
Renaissance painting used bright colors to its narratives. He created monumental figures that embody both strength and beauty.
Blue skies with clouds for example were use to represent the expulsion of Adam and Eve from the garden of Eden in day light. Clear white color for the creation of man by god. Less figurative colours and emphasis was used for the background with less activity happening but emphasis put on the human forms to narrate the scenes.
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4. Disputation of the Holy Sacrament Raphael 1509-1511 painting
Artwork image
(INTeResTs, 2015)
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Visual Elements
The fresco painting is primarily eschatological
The use of bright colors is vivid throughout the painting to bring out the human forms and also brightened figure of Christ.
He has created scenes spanning from both heaven and earth. The painting guides the viewer’s eyes to the altar.
Dispensation of semi circular spaces like an apse, without walls where two assemblies of equal size and dignity reflect and debate on nature of Christ.
Raphael crossed through horizontal line of saints and vertical line of the father, son and holy sprit.
He creates lights and shadows with tones of a single color and combines color in a dramatic way. Color plays important role in giving sense of depth and space saturated color in the bottom level to the top leading viewing from earth towards the heavens level of color intensity distinguishes individuals, clouds and the courtyard being more intense while background and blue sky is more dull in comparison.
The centre is a series of concentric circles covering the whole fresco.
The painting texture is tender and visualizes clarity.
The lines give idealistic impression that fresco painting dividing it into 3sections-line usage on the top 2 layers are defined by clouds while those at the background landscapes in the horizon used to define earth sections.
Usage and placement of lines gives painting volume and sense of space-top two cloud lines are placed in an organic, circular shape. Given in 3D spherical environment. half circular shape of canvas compliment impressions
Shapes and forms come in all variety heaven dominated with organic shapes excessive usage of clouds while geometric shapes populates earth sections usage of courtyard and the altar.
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Design Principles
Structure of composition is characterized by extreme clarity and simplicity
Sketches and drawings contain notable difference in pose
Degree of admirable balance and expressive dignity
Various linear implied techniques.
Concentric circles of the two worlds are used to bring the contrast of the two scenes-heaven and earth.
The colour scheme is polychromatic
There’s a touch of mundane in details of feet, sandals and intrications in facial musculature.
The focal point is established on the heavens with the holy trinity
The balance is symmetrical across the entire painting
Painting guides the viewer’s eyes to the altar from the bottom to the top.
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4. Disputation of the Holy Sacrament
Explanation of background using facts
The landscape in the background terminates in a kind of misty, blue sky covered in day time clouds. Colours become more dull and colourless- aerial perspective. Renaissance artist create illusion of depth in landscape scenes. Lush green landscaped horizons for the earth surfaces. The heavens are shown with use of blue skies symbolic of magnificence.
5. Christ crucified Diego Velázquez 1632 painting
Artwork image
(Tiffany, 2012).
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Visual Elements
The work painted in oil on canvas renders texture and fabric without need for further adornment or ornamentation.
Painting is marked with confrontational naturalism.
Stunning still life elements
Sober terracotta tones.
Tranquillity and idealistic features of Christ’s body
Renaissance is seen in use of chiaroscuro.
Rectangular shape and triangular shape use on the crucifix
Glowing colors on the head on Christ to show his mighty being
The painting has no time setting as it is not accompanied with neither landscape, nor sky nor metrological or prodigious phenomena.
The texture invites silence and meditation.
Progressive diminishing tension towards transcendent.
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Design Principles
Influence of classism in the work is shown by the overall calmness of the body its posture and idealism. A symmetrical balance which allows arms to form a subtle curve instead of a triangle.
Dramatic tenebrism focuses all attention on the pale body.
The composition is starkly simple yet vivid contrast between the dark background and the white body
Emphasis is on the mood brought about by the painting with is empathy and spiritualism.
A symmetrical balance triangle descends from this core giving it a hint of grandeur
The focal point is on the saviour
The artist scale proportion is evenly from the arms to the legs.
The path taken by the eye is linear from the bottom to the top of the human form.
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5. Christ crucified
Explanation of background using facts
Painting shows the form of an erect Christ with both feet nailed to a foot rest on the cross against a dark background which depicts mystery of incarnation and provides respectful veil of death.
Formal Art Criticism Theories
Art criticism responds to , interpreting meaning and making critical judgement about specific works of art.
Journalistic criticism will be best to describe this type of gallery artworks. They are exhibited in galleries and museums and have complex narratives and techniques applied.
Interpretations are persuasive arguments. Some interpretations are better than others
Objects of interpretation are artworks not the artist
Interpretations are not absolutely right but convincing, enlightening and informative.
Theory for example in the wedding at Cana is subjective to explaining what is happening in the environment. Crowds could be a sign of a gathering or chaos but the mood and use of colors integrated into the painting could help one know if the available objects are significant.
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Contextual Art Criticism Theory
This is theory that considers art as a product of culture and value system. They pay attention to artist expression of a personality or world view.
Artworks focus on artist’s life, his or her cultural, social, economic and political conditions. The reactions are public and critical to the work. The artworks used were of renaissance period set back by the artists era. Contextual may be political economic or social. The artworks chosen are all set on a renaissance society of the European culture.
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Expressive Art Criticism Theories
Expressive theories attempts to discern personal elements in works of art as opposed to formal strategies or cultural influences
Such as use of in the Christ Crucifixion where Diego is more experienced in detailing Human form and best expresses artwork by use of the human framework.
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Comprehensive Statement
Art seeks to please people with beauty. Art as the ability to refresh the aesthetic feel of an idea or object.
Artworks have the ability to bring positive change-by giving shape and voice to goals we’re striving to achieve
Challenges perspectives through innovative thinking.
Art pushes controversial buttons and inspire creative ideas
Artworks also record information for future reference.
Visual art has a great role in development of society through community engagement
Cross-cultural understanding of different societies.
Creative solutions to social issues by being a protest tool and an inciter of social change
Art criticism theories criticise context of aesthetics by analysing and evaluating works more. Providing an interpretive understanding of a particular work of art through a theoretical perspective.
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Comprehensive Statement
Religious artworks is artistic imagery using religious inspiration and motifs. Certain religions have rules pertaining circumscribing the type of art work. For example in Muslim a sculpture of Mohammad will be regarded as blasphemy rather than a piece of religious art. Religious sculpture, painting and architecture recognize moral narrative for the sacred “quality”( Honour & Fleming, 2010)
Common types of religious art include:
The Egyptian pyramids
Stonehenge stone circle
The Gothic cathedrals
Taj Mahaj
Decorative art incorporates calligraphy, crafts, icons, manuscripts, metalwork and wood carvings.
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Comprehensive Statement
High percentage of works on this theme reflect the classical tranquillity of sacred and moral values. Artists and their advisors face challenges of suggesting visual terms of spiritual mysteries. Such as visions profound in theological beliefs and debates. Images inspire and strengthen faith through public and private devotion. Galleries continue to be active in providing relationship between art and religion. They provide powerful narratives and beauty in their execution.
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References
Goldscheider, L. (Ed.). (1959). Leonardo da Vinci: life and work, paintings and drawings. Phaidon Press.
Hanson, K. H. (2010). The Language of the Banquet: Reconsidering Paolo Veronese’s Wedding at Cana. Invisible Culture Journal, (14).
Honour, H., & Fleming, J. (2010). The visual arts: A history. Pearson Education.
INTeResTs, D. O. (2015). Foot deformities in Renaissance paintings. A mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters. JR Coll Physicians Edinb, 45, 289-97.
Seymour, C. (Ed.). (1972). Michelangelo, the Sistine Chapel ceiling: illustrations, introductory essays, backgrounds and sources, critical essays (Vol. 1). WW Norton & Company.
Tiffany, T. J. (2012). Diego Velázquez's Early Paintings and the Culture of Seventeenth-century Seville. Penn State Press.
