Expert Answer:Religious Artwork Presentation

  

Solved by verified expert:InstructionsArt Gallery: Visual ElementsFor Unit III of your art gallery presentation, you will be adding descriptions of the visual elements you observe in the artworks you placed in your art gallery. The purpose of this unit assignment is to demonstrate that you can apply what you learned about visual elements to your gallery artworks.Begin by reviewing your Unit II feedback and making any necessary revisions.Place one Visual Elements slide directly after the artwork it describes.Next, research the elements using Chapter 3 of your textbook.Make sure you describe all of the visual elements from Chapter 3 using complete sentences. Questions to consider are included below:Line: Describe what kind of lines are in the artwork (vertical, horizontal, diagonal, thick, thin, etc.). What do the lines do? Do they lead your eye to something?Shape: Describe what kind of shapes are in the artwork and where they appear. Are there circular shapes in clouds, rectangular shapes in buildings?Light: Where is the light coming from? What is it highlighting?Color: What colors are used? Are the colors bright, tints, muted? Are they different shades of one hue?Texture: Is there a pattern on some area in the artwork? Is there a paint texture such as impasto?Mass: Is the artwork heavier in one area?Time: Is there anything in the artwork that gives the sense of time? Is it a daytime or nighttime scene?Motion: Is motion depicted? Are people walking, running, floating, or climbing toward something?
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High Renaissance Art Gallery
Student Name
Columbia Southern University
9/20/2015
(Botticelli, ca. 1482)
High Renaissance Art: Introduction
I chose High Renaissance art because the artwork in this period shows
real distinctive details and emotion.
I want to know why the human body was so inspirational to these artists.
I am interested in learning why this art period is called the rebirth of art .
High Renaissance Art: Introduction
• Renaissance Art was done in Europe from the late 1400’s to1600.
• Separated into three main categories: Early Renaissance, High Renaissance,
and Late Renaissance.
• Marked by “logical thought and the new philosophical, literary, and artistic
movement called humanism” (Frank, 2014, p. 279).
• Artists studied anatomy and “applied geometry to the logical construction of
implied space through linear perspective” (Frank, 2014, p. 281).
• High Renaissance was peak of Italian art from 1490 to 1530 (Frank, 2014).
La Primavera
Sandro Botticelli
1482
Tempera on panel
(Botticelli, ca. 1482)
La Primavera
Visual Elements:
• Lines- Vertical curved lines are used to create motion.
• Light- The light is dispersed throughout the artwork, but the figures still look like
they are in shaded woods.
• Color- The light colors stand out against a dark background; light colors are used
for the bodies and the shell.
• Motion- Outstretched arms and legs indicate motion by the figures.
• Shape- Female shapes are elongated to show their beauty.
• Texture – The fabrics, some appear see-through, fruit and leaves on trees, and
scattered flowers on the ground all create patterns and texture throughout the
work.
• Mass – The light shading creates the illusion of the figures taking up space and
mass within the artwork.
• Time – The blue sky, but dark forest make the painting seem like it’s taking place
in early or late day.
Mona Lisa
Leonardo da Vinci
1503-1506
Oil on wood
(Da Vinci, ca. 1503)
Mona Lisa
Visual elements:
• Light- Da Vinci uses light on the subject’s face, but uses a hazy light in the
background.
• Lines- There are no lines or edges, because colors and tones are merged
together in the Mona Lisa.
• Colors- Colors are blended without borders in the Mona Lisa. Da Vinci uses dull
yellows and red colors with contrasting cool colors in the background.
• Shape- Rounded shapes form the body and hands in the foreground.
• Mass- The figure in his painting represents the majority of mass.
• Texture- Folds in the clothing create texture.
• Motion – Pathways in the background create movement for the viewer’s eyes.
• Time – Figure’s clothing alludes to Renaissance, but time of day is not specific.
The Last Supper
Leonardo da Vinci
1495
Paint on plaster
(Da Vinci, ca. 1495)
The Last Supper
Visual elements:
• Light- Da Vinci uses light on the right side wall, and in the distance to create
space.
• Lines- All lines converge at a vanishing point in the center.
• Colors- White is used for table and walls with blue and orange clothing for the
figures.
• Shape- Doorways, windows, and tabletop are dominating shapes in the artwork.
• Mass- The gathering of figures in the foreground creates mass and movement.
• Texture- Folds in the clothing create texture.
• Motion – The apostles are leaning toward each other as if talking and motioning.
• Time – The setting is just before the death of Christ, and appears to be during the
day.
Adam and Eve
Albrecht Dürer
1504
Engraving
(Dürer, 1504)
Adam and Eve
Visual Elements:
• Light- ‘Chiaroscuro’ technique provides tone in this art piece.
• Lines- The use of line work emphasizes the vertical elements.
• Shape- Vertical organic shapes show forms found in nature.
• Mass- Figures in this paintings represent three dimensional mass.
• Texture- Hatching and cross-hatching create the textured surfaces.
• Motion – Figures appear to be reaching toward each other.
• Color – The intaglio process uses black ink, and grayscale is seen
throughout the artwork.
• Time – The image is bright and clear, making it seem like midday.
Virgin and Child before an Archway
Albrecht Dürer
1495
Oil on panel
(Dürer, ca. 1495)
Virgin and Child before an Archway
Visual Elements:
• Light- Light appears to be coming from our left toward the figures.
• Color – Dark, warm colors used for the clothing contrast with the figures
light, pale skin.
• Lines- A variety of curved lines outline clothing and figures.
• Shape- The body of the Child and Virgin are soft and curving shapes.
• Mass- Figures in this paintings take up space and represent three
dimensional mass.
• Texture- Folds in clothing and curled hair create various textures.
• Motion – Mother appears to be reaching for Child’s hand and looking at
Child.
• Time – The interior scene makes it hard to determine time of day; clothing
references the time of Christ.
References
• Botticelli, S. (ca. 1482). Birth of Venus [Tempera on canvas]. Retrieved from http://www.uffizi.org/artworks/the-birth-ofvenus-by-sandro-botticelli/
• Botticelli, S. (ca. 1482). Primavera [Tempera on panel]. Retrieved from http://www.uffizi.org/artworks/la-primaveraallegory-of-spring-by-sandro-botticelli/
• Da Vinci, L. (ca. 1495). The Last Supper [Oil on canvas]. Retrieved from
http://www.abcgallery.com/L/leonardo/leonardo4.html#note
• Da Vinci, L. (ca. 1503). Mona Lisa [Oil on wood]. Retrieved from http://www.louvre.fr/en/oeuvre-notices/mona-lisaportrait-lisa-gherardini-wife-francesco-del-giocondo
• Dürer, A. (ca. 1495). Virgin and Child before an Archway [Oil on panel]. Retrieved from
http://www.wga.hu/html_m/d/durer/1/01/07virgin.html
• Dürer, A. (1504). Adam and Eve [Engraving]. Retrieved from https://www.metmuseum.org/toah/works-of-art/19.73.1
• Frank, P. (2014). Prebles’ Artforms: An introduction to the visual arts (11th ed.). Boston, MA: Pearson Education.
Religious art
Students Name
Institution affiliated
Date
INTRODUCTION



Christian sacred art was produced
in an attempt to illustrate,
supplement and portray in
tangible form the principles
of Christianity, though other
definitions are possible.
Religious art is a sacred art of
artistic imagery using religious
inspiration and motifs and is
often intended to uplift the mind
to the spiritual.
The sacred art involves the ritual
and cultic practices and practical
and operative aspects of the path
of the spiritual realization within
the artist’s religious tradition.
INTRODUCTION CONT’



Madonna, in Christian art is
portrayal of the Virgin Mary.
The term is generally limited
to those portrayals that are
reverential as opposed to
story and that demonstrate
her in a nonhistorical setting
and underline later doctrinal
or wistful importance.
The Madonna is joined
frequently by the baby
Christ, however there are a
few vital sorts that
demonstrate her alone
MADONNA



The subject of the Madonna
and Child was uncommon in
the principal hundreds of years
of early Christian
craftsmanship.
In 431, be that as it may, the
foundation of Mary’s title of
Theotokos (“Mother of God”)
completely attested the full
god of Christ.
From that point, to underscore
this idea, an enthroned
Madonna and Child were given
a conspicuous spot in
stupendous church
improvement.
MADONNA ART



One of the most punctual entirely
Western Madonna types is a standing
Gothic Madonna, a melodious picture
of the grinning Virgin and fun loving
Child, which was displayed on the
Byzantine and discovered its best
articulation in model in the thirteenth
century.
In the fourteenth century, painted
altarpieces ended up normal, the
Madonna enthroned, got from the
nikopoia, was a most loved subject
for a period.
It was especially mainstream in Italy
as the maestà, a formal portrayal of
the enthroned Madonna and Child
encompassed by holy messengers
and now and then holy people.
ITALIAN SACRA



Other Madonna types are
the Italian sacra
conversazione,.
These portrayes a formal
gathering of holy people
around the Madonna and
Child, and the northern
subjects of the Madonna of
the rose greenery enclosure.
This is a symbol of Mary’s
virginity, and the seven
distresses of Mary,
demonstrating seven
swords puncturing the
Virgin’s heart.
VIRGIN MARY



Three noteworthy Madonna types
appearing Virgin alone have
religious criticalness.
As the Madonna of benevolence,
which prospered in the fifteenth
century, the Virgin spreads her
mantle defensively over a
gathering of the dedicated.
The immaculate, which in the
seventeenth century underlined
her Immaculate Conception, or
interminable opportunity from
unique sin, demonstrates her as a
young lady plummeting from the
sky, upheld by a bow moon and
delegated by stars.
CONCLUSION


Most religious art have the
subject of the Madonna
endured a decrease in the
real expressions after the
seventeenth century.
Portrayals of the Madonna
and Child, be that as it may,
kept on being imperative in
famous craftsmanship into
the twentieth century, most
after sixteenth and
seventeenth century
models.
REFERENCES
Bergström, I. (1955). Disguised Symbolism
in’Madonna’Pictures and Still Life: I. The
Burlington Magazine, 97(631), 303-308.
 Dillenberger, J. D. (2001). The religious art of
Andy Warhol. A&C Black.


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