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The realism of proportion and position is a hallmark of the Late Renaissance/Baroque period. The sharp contrast between Christ and his surroundings, however, is a distinct and yet subtle influence of de Champaigne's Flemish training. Christ is very clearly and visibly defined, and there is no question that he stands out fro the other elements of the painting, scant as they are, appearing almost to have a three dimensional quality that is lacking elsewhere despite the attention to detail.
Iconography and lighting are very closely related in this piece. Almost the entire scene is cast in deep shadow, but the figure of Christ is bathed in light, and even seems to e radiating it himself. This gives his body the appearance of having a halo entirely surrounding it, emphasizing the divine nature both of the man himself and of the current situation he is in. The despondency apparent on his face is most easily attributed to the meaner parts of human nature, and this is mirrored by the shadows surrounding and enveloping everyting but Jesus -- at this point, he is the only thing of holiness in the scene and, the painter seems to be saying, possibly in...
Despite the instruments of torture and humiliation that he holds -- indeed, perhaps because of them -- Christ is imbued with holiness and light in the world's darkest hour.
The deeper meanings and interpretations behind this painting show the general benefit that art provides to a society. It allows people to explore difficult and complex feelings and events from a safe distance, and allows for personal and subjective interpretation. Many things in the world do not fit into a clear cause -- and -- effect or scientific analysis, and art allows for an examination and explication of these things that is as complete and thorough as any scientific investigation. When a society keeps art at the forefront of their focus, they can lead more open-minded and inquisitive lives, leading to greater freedom and even greater efficiency. If people turn away from art, the opposite generally occurs -- close mindedness and even fascism usually follow right behind. To ensure that this does not occur with me, I will continue to raise my awareness of art by examining the visual information the world presents, and never taking anything at face value.
This may also be an indication of the struggle within the artist. (Botticelli, Sandro: The Mystical Nativity) The works of Botticelli were to become less fashionable and popular with the development of the Renaissance. He was to die virtually unknown in the art world. However in the 19th century Ruskin and the Pre-Raphaelites once again recognized his genius and his paintings again assumed a prominent position in the history of
Botticelli's Birth Of Venus And Duccio's Maesta The representation of women in Western art has changed throughout history, and for much of Western history this representation was oriented around the dominant female figure in contemporary society; that is, Mary, mother of Jesus. However, the gradual shift away from a dominantly monotheistic cultural hegemony seen in the Renaissance and eventually the Enlightenment brought with it new (and the case of this study,
Here Mars is asleep and unarmed, while Venus is awake and alert. The meaning of the picture is that love conquers war, or love conquers all." (Cole, xx) the purpose of the work during the renaissance was mostly likely for a prominent individual's bedroom furniture or a piece of wainscoting. Some art connoisseurs have considered that the detailed wasps at upper right may have been a link to the popular
Sandro Botticelli Italian painter Sandro Botticelli was one of the foremost talked-about artists during the early Italian Renaissance, well-known for his portrayal of the female figure. Even throughout the changes of his subjects -- from the whimsical pagan mythologies to the reverent Christian ideologies -- Botticelli was a master of his art. His personalized style was captured in each work, all elegantly executed on canvas with the influence of his patrons
Venus in Art Introduction to Venus and Aphrodite: Throughout history, Venus has long been a source of inspiration for artists. Her representation of love and beauty has been captured in various mediums, from the visual arts of paintings and sculpture to music and drama; Venus has served as a universal symbol of beauty and has embodied the secrets of love. Central to understanding how artists have been able to use her as
Religious Image as Depicted by Three Different Artists: The Virgin Mary in Renaissance art Portraits of the Virgin and Christ Child began to proliferate in Florence during the Italian Renaissance. There was "a new demand for devotional images on a domestic scale" (Botticelli, Virgin and Child with an Angel). While epic religious portraits remained in vogue in some quarters, in others a new vision came to the forefront that stressed the