Category: Leonardo da Vinci

As it has already been stated, all people understand art in different ways. First of all, the way in which a person sees some artwork and understands its sense depends on the outlook, beliefs and mood of a person. (Berger 7). There is no use denying the fact that one picture can give a great number of different opportunities for people to analyze it and understand its hidden sense, discovering its new aspects every time a person looks at it.

However, not only common viewers can have different interpretations of the same idea or notion. The thing is, that some events or motifs are quite popular and it is obvious that painters devote their works to them, trying to show their way of seeing and understanding. That is why, there is a great number of different interpretations of the same events in art. There are many pictures devoted to the issue of war or some certain battle.

Additionally, there is a great number of pictures which show some known historical figure in his/her natural surroundings. Nevertheless, there are also many artworks devoted to religious issues, which depict Madonna, Jesus or angels. However, the fact that numerous pictures are devoted to the same issue does not make them similar. That is why, art can be called a very powerful remedy for self expression which can provide limitless opportunities for people. Additionally, it is possible to say that even the reproduction of some picture can show the point of view of a painter, who made it, on the issue. The theme of reproduction becomes very topical nowadays as modern technologies provide the possibility to make numerous copies of the original art work with the help of cameras, video cameras and some other devices.

Moreover, modern paints differ from the ancient ones and that is why, painted with the help of modern paintings, old picture will look different (Larsen para. 3). With this in mind, it is possible to say that reproductions of the same picture or different artworks devoted to the same event or issue can show the painters vision of this event and, additionally, can promote appearance of different points of view among viewers. To prove this statement it is possible to introduce the special set of pictures which can serve as the best evidence to the idea of diversity between reproductions and pictures devoted to the same issue.

First of all, the picture Virgin of the Rocks by Leonardo da Vinci should be added to the gallery which is created to prove our point of view. There are certain obvious reasons for this step. The main aspect is connected with the unusual history of this artwork. The thing is that there are two variants of this picture and both of them are of a great cultural value (“Art of Leonardo da Vinci” para. 3). These works are considered to be made by Leonardo da Vinci and they are almost identical except some tiny details.

The version, which is supposed to be the first one, can be found in Louvre in Paris. First of all, it is necessary to analyze the original in order to understand the main idea of the given artwork and compare it with some other works devoted to the same issue. The picture depicts Madonna with the Child Jesus, the infant John the Baptist and the angel. Madonna sits on the rocks, surrounded by mountains. This rocky setting is the main reason of the unusual name of the picture.

The work is written by a genuine painter and that is why there is no use denying the fact that it is a great masterpiece. All characters, which are depicted in the picture, look natural and there is a feeling that they can continue their communication which was interrupted by a viewer. Madonna, depicted there, hugs John the Baptist, at the same time her gesture can be taken as the sign used to bless people and protect them. Attention which is given to the tiniest details impresses a viewer. It is possible to see the smallest rocks or grass blades, additionally, the atmosphere of the cavern, where all characters sit, is shown perfectly and makes a viewer feel as if he/she is there.

However, there is also one more variant of this very work which can be found in National Museum in London. At the first gaze, the picture can be taken as identical to the previous one. There are the same surroundings and the same images of Madonna, Jesus, angel and John the Baptist in this picture. However, having investigated it, it is possible to see some differences. First of all, it should be said that these pictures are different because of the colors used. The second version is lighter and the whole gamma seems to be different.

However, the colors are not the only difference. The thing is that the picture, which can be found in London, suggests another vision of the same issue. It is possible to understand it, comparing these two artworks. There is no halo around the angels and Madonnas head in the picture in Louvre. Additionally, John the Baptist holds the cross. There are also several differences connected with the image of the angel. The red mantle is replaced with the blue one, additionally, the angel in no more pointing John the Baptist.

There is a great number of adheres of some conspiratorial versions or some mystifications. Many questions appear in the process of discussion of these pictures. Scientists try to determine what the main da Vincis idea was and what he wanted to show his ancestors creating these two versions of the same picture which is devoted to the same event.

That is why, these two works can be taken as the best evidence to our statement that reproductions of the same works suggest some new visions of the same events. Though, there are some points of view which state that the second version of the picture Virgin of the Rocks was painted not only by Leonardo da Vinci but some of his pupils helped him. Though, he is still responsible for this work and there is no use denying the fact that the main idea was created by him. That is why, these two pictures can be taken as the example of two different points of view on the same issue. Additionally, they are interpreted by the viewers in different ways. Debates around these pictures show the ability of artworks to initiate different attitudes towards some questions.

Moreover, there are two more pictures which also can show differences in the approaches to the same issue and, moreover, can add some new points of view on the issue. The thing is that there are two more pictures which are connected with the artwork Virgin of the Rocks. This picture was supposed to be surrounded by four angels. However, there are only two angels painted. They both are turned in the same direction and they both play different musical instruments (“Interpretation of Virgin of the Rocks” para. 9).

Both these paintings should obviously be added to our gallery as they also show different approaches to the same issue. There is an angel who plays a vielle in the first picture. He looks very humble and solemn. Additionally, his wings are dark. That is why, there is also a great number of questions connected with this picture. It was obviously painted by another painter, however, it is still related to the picture Virgin of the Rocks. The angel stays against the gray background, however, the reflectogram revealed some part of a painted landscape (“Interpretation of Virgin of the Rocks” para. 9).

That is why, the question of the initial purpose of this very angel and his position appears. The same question is connected with the second picture called Angel in Red with a Lute. This picture is also taken as the part of this great composition, though, it was painted by another painter. The style, in which the picture is made, is different. The angel is more humanlike, however, his wings are light. He looks in the same direction as the previous one, staying in a grey niche. Being rather different, these pictures still belong to the same artwork and help to complete the image However, they also introduce a great number of questions connected with the purpose of the picture Virgin of the Rocks and differences which exist between two different versions.

Besides, these four pictures introduce some point of view on the issue of the Holy Family peculiar to Leonardo da Vinci and some other painters. However, it is obvious, that these pictures are not the only artworks devoted to this theme. Great number of painters used religious motifs in their works and many pictures depict Madonna and Jesus. However, only two of them should also be added to our gallery. The artworks Holy Family and St. John by Bernardino Luini and Holy Infants Embracing by Joos van Cleve can serve as another interpretation of the same motif. Additionally, they are considered to be derivations of da Vincis Virgin of the Rocks. It is very easy to understand the reason of this choice. The thing is that all these six pictures are intimately related. The members of the Holy Family or some saints are depicted there.

That is why, all these pictures can demonstrate how the artwork depends on the way of seeing. The picture Holy Family also describes Madonna with two infants which were depicted in da Vincis work. However, the manner of presentation is different. Madonna looks more lively and there are only some common traits between three women depicted in these three pictures. Trying to show their own visions of this woman, painters added something new and, as a result, different images appeared. The same deals with the last picture of our gallery which depicts two infants who play with each other. It is obvious that these two babies are Jesus and John the Baptist.

However, they are also not identical to children who can be seen on previous pictures. Additionally, this very picture has a great number of different representations and versions. Inspired by Leonardo da Vinci and his early sketches made while working at Virgin of the Rocks, painters also tried to show their vision of the issue and create an artwork which could reflect it. That is why, the theme of two saint infants was quite popular and had a great number of different versions.

There are many theological debates connected with the works of Leonardo da Vinci and his students. People assume that great number of pictures, devoted to the same issue, serve to show Leonardos point of view on religion and its roots (Alberge para. 8). The author wanted to do it with the help of different tiny details which could be seen in different versions of the same picture. However, it is just one of the versions. Nevertheless, these six pictures can serve as a good example of the influence of authors vision of some object or idea on the final result of their work.

Having analyzed the main aspects of the theme of reproductions and different points of view, it is possible to make certain conclusion. First of all, it should be said, that it is obvious that the final image of any picture depends on the way in which a painter sees this world. Additionally, the author can also change his/her attitude towards some issue and these changes can be seen in different versions of his/her works. Nevertheless, variants of the picture, made by other painters, will also show painters attitude towards the issue. This statement can be proved with the help of the work Virgin of the Rocks by Leonardo da Vinci and its numerous interpretations.

Works Cited

Alberge, Dalya. “The daffodil code: doubts revived over Leonardo’s Virgin of the Rocks in London“. The Guardian. 2014. Web.

Art of Leonardo da Vinci. n.d.. Web.

Berger, John. Ways of Seeing. London: Penguin Books. 1990. Print.

Interpretation of Virgin of the Rocks. n.d.. Web.

Larsen, Erik. “The Work of Art in the Age of Mechanical Reproduction“. The Modernism Lab. n.d.. Web.

Introduction

Art is a tool used to explain ideas about society. Art as part of history, informs human beings about certain ideologies that were considered to be significant in history. Differences in the art are used to explain differences in ideologies of different periods. This discussion is based on early Renaissance and high renaissance. Leonardo da Vinci (High Renaissance) and Fra Filippo Lippi (Early Renaissance) have been compared to ideologies of their paintings.

High Renaissance

High Renaissance is characterized by the need to make art look real, especially in the development of a strong interest in anatomy. The high Renaissance is also characterized by the need to paint ideals of the cosmic world in sculptures and paintings(Hatfield 315). Artists in high renaissance are concerned about religious and political tensions presented through paintings. In particular, artists in high renaissance engaged in the search for cosmic truths. Paintings reflected concepts such as proportion, order, and harmony(Schroeder and Borgerson 153).

Early Renaissance

In the case of the early Renaissance, artists were interested in humanism. Artists were concerned about painting human beings while placing less importance on God or cosmic truths. Despite less importance on cosmic truths, Christianity was the only religion in the early renaissance. However, the introduction of humanism by painters ensured that religion is given a human face. Painters portrayed saints, holy family, and apostles as real-life members of the society rather than idealized figures as depicted by artists in the high Renaissance(Holberton 31). Man as the center of art motivated the study of the human body. As a result, the study of the nude led to artists being pre-occupied with nature and other forms of life.

Leonardo da Vinci (High Renaissance)

The ‘Virgin of the Rocks’ is an example of art painted by Leonardo da Vinci (1452-1519). Leonardo da Vinci is concerned with religion, especially the Virgin Mary, Jesus, and John the Baptist. In the art, ‘Virgin of the Rocks’ da Vinci paints holy figures through the use of gentle light in a rocky environment. Leonardo da Vinci creates paintings that are physical and real. Paintings by leading Renaissance artists have elevated levels of spirituality that cannot be denied (Ginn and Lorusso 295). In the ‘Virgin of the Rocks,’ da Vinci unites reality and the spiritual. In particular, the soul and the substance are in unity so that no person can question the authenticity of the painting.

Fra Filippo Lippi (Early Renaissance)

In the figure above from the early Renaissance, Fra Filippo Lippi uses a painting that appears real. In particular, the figures in the painting appear real and human. In reality, it is not easy to tell whether these are divine figures. However, religion and the divine can be analyzed through sorrowful expressions and clasping of hands through prayer. On the contrary, in the high Renaissance, artists identified the need to create spiritual figures that do not depend on abstraction (Hills 217). Artists in the high Renaissance focused on the painting that moved towards flatness and elongation. Paintings in the early renaissance can look spiritual if they look unreal. Real paintings in the early Renaissance sacrifice spirituality and divine messages.

Conclusion

The early Renaissance is less concerned about God. Artists at the beginning of the Renaissance identified the need to give religion a human face. Images painted in high renaissance reflected the existence of non-real life especially the holy family, Jesus, saints, and apostles. High importance to the man in the early Renaissance led to real paintings. In the process, the concept of spirituality is questioned. Real pictures have no high levels of spirituality when compared to spiritual images developed in the early Renaissance.

Works Cited

Cameron, Stuart, and Jon Coaffee. “Art, Gentrification and Regeneration – From Artist as Pioneer to Public Arts.” European Journal of Housing Policy 5.1 (2005): 39–58. Web.

Ginn, Sheryl R, and Lorenzo Lorusso. “Brain, Mind, and Body: Interactions with Art in Renaissance Italy.” Journal of the history of the neurosciences 17.3 (2008): 295–313. Web.

Hatfield, Rab. “Five Early Renaissance Portraits.” The Art Bulletin 47.3 (2014): 315–334. Web.

Hills, Paul. “Ray, Line, Vision and Trace in Renaissance Art.” Word & Image 6.3 (1990): 217–225. Web.

Holberton, Paul. “Of Antique and Other Figures: Metaphor in Early Renaissance Art.” Word & Image 1.1 (2012): 31–58. Web.

Schroeder, Jonathan E., and Janet L. Borgerson. “Innovations in Information Technology: Insights from Italian Renaissance Art.” Consumption Markets & Culture 5.2 (2002): 153–169. Web.

Introduction

Does art transcend age and race, focusing on the achievements of a particular faction of society that others may ignore in favor of grandeur items? It seemingly appears as a storytelling form propagating various notions in society.

Discussion

Georgia O’Keefe represents this inclusion notion ideally through her myriad of works over the years. The artist continually claimed she would make New Yorkers turn their heads and notice flowers (Biography.com, 2021). While minuscule, these paintings elicited a certain allure that promoted the artist’s work due to its connection between abstract and concrete notions. Georgia’s appreciation for her environment is further visible in her paintings involving different landscapes such as New York skyscrapers and New Mexico (Biography.com, 2021). The artist did not exhibit the variations in different flowers (based on the increased size in her paintings); instead, she sought to include as much detail on her topic. Georgia ascertained the need to remain neutral and exhibit nature and our surroundings in all their glory, rather than altering appearances to maintain a particular image. Her stories tell of a diverse and beautiful environment that exhibits some forms of order despite the chaotic nature of life.

Leonardo Da Vinci is one of history’s most iconic artists. He wrote down notebooks concerning various factions of nature, such as architecture and botany (Biography.com, 2019). It is interesting to note the latter subject as one of Georgia O’Keefe’s focuses. The famous Sicilian artist shared this aspect with the American icon, indicating the intricacies involved in daily life that people may fail to notice due to the concept that other things are existent in the world with more direct influence on one’s life. The illustration posited below is a flower painting in Da Vinci’s notebooks. The intricate details showcase curiosity and understanding of the flower’s different parts and sizes; Da Vinci uses a similar form of drawing to Georgia, ignoring the flower’s actual size to illuminate its beauty.

Baca’s The Great Wall of Los Angeles depicts Japanese Americans that fought in World War II while more than one hundred thousand of their compatriots were incarcerated in the USA (Gordon, 2020). Its light shading on the top side of the mural showcases the soldiers’ hopes of working together with other Americans to end fascist dominance.

Conclusion

In contrast, the dark shading in the mural’s bottom parts depicts a dark picture of subordination to one’s culture. This factor led to mass incarceration despite their fellow citizens fighting on the Allies’ side in the World War.

References

Biography.com. (2019). Leonardo da Vinci – Notebooks. Biography.com. Web.

Biography.com. (2021). Georgia O’Keeffe. Biography.com. Web.

Gordon, P. (2020). Art matters: A contemporary approach to art appreciation. Oxford University Press.

Introduction and Thesis

The Nightmare by Henry Fuseli and Virgin of the Rocks by Leonardo Da Vinci will be explored in depth. The mythical story of a young John the Baptist and Jesus leaving Egypt and meeting in the wilderness is depicted in the painting Virgin of the Rocks (Brooks). Virgin of the Rocks’ rejection of the conventional Christian painting motif is significant. In the artwork, when Mary moves farther away from Jesus, John is seen to be elevated above him and covered by her mantle. This gives the impression that John is the picture’s main subject. In contrast, The Nightmare features a woman in a deep sleep with her arms at her sides and a demonic creature perched on her breast (Kryger and Siegel). The fact that this picture contains numerous symbolic elements and that its exact significance is still undetermined is what made it appealing to me. In this essay, two pieces of art from the High High Renaissance and Impressionism periods will be compared and contrasted.

Stylistic Analysis

Henry Fuseli portrays a dimly lit interior scene in The Nightmare. However, in many of his Romantic drawings and paintings, he and a number of other artists in England incorporated similar otherworldly themes (Kryger and Siegel). Henry Fuseli uses a woman’s reclining figure in the composition’s middle to create a solid horizontal linearity. The woman resembles a link connecting the natural world and the dream realm. What makes these works stylistically significant is the combination of the chiaroscuro techniques and the use of linar approach to the composition, which allows the artists to blud the line between reality and the surreal, dreamlike world.

Admittedly, the key stylistic characteristics of the specified art pieces are quite different. Specifically, the application of the chiaroscuro technique and the use of horizontal lines as the emans of creating a surreal image with dreamlike plasticity is what makes Fusell’s artwork particularly prominent, according to Ames-Lewis (90). Similarly, “Virgin of the Rocks” also represents the chiaroscuro technique of combining light and dark elements o the painring, therefore, building contrast.

Leonardo was given the commission for this altarpiece artwork called The Virgin of the Rocks because of the way he depicted the Virgin in homage to the Immaculate Conception theory, which holds that Mary was created without original sin. Leonardo’s almost flawless handling of light and shadow is perhaps his most significant achievement in High Renaissance painting (Brooks). Light falling from the top-left corner of the image illuminates the people as they emerge from the grotto’s gloom.

Cultural Analysis

The Nightmare is a unique picture since it was among the first to exclusively depict an idea rather than a particular person or location. The precise objectives or implications underlying Henry Fuseli’s painting were never made public. His works were produced during the “Age of Reason,” a time when the majority of people had abandoned belief in the supernatural (Mhaske, Mandakini, and Thapliyal). This, in my opinion, makes his use of the paranormal more intriguing. I think that Fuseli tried to break the social mold by depicting fantastical animals in his paintings. I believe that he purposefully encourages viewers of his images to consider subjects that are different from what is customary or what is anticipated. Furthermore, the painting incorporates a subtle response to the hierarchal changes within society observed in the 18^th century. Specifically, it seeks to challenge and even undermine the established societal beliefs and tarditions by introducing the concept of supernatural into the sociocultural contxt guided by the era of Enlightenment.

Liekwise, the artwork by Da Vinci both reflecst and challengs the esnetial cultural issues observed at the time whyen the artwork was created. Specifically, the core cultiural values of the early Renaisaance era, primarily, Humanism and Christian philosophy, are prominent in the specified painting. Namely, the Virgin is portrayed as enigmatic and all-knowing, therefore, rendering the traditional Christian perspective whiel also adding a certain air of mystery into the painting.

Both of Leonardo’s paintings of the Virgin of the Rocks serve as good starting points for describing the characteristics of the new High High Renaissance aesthetic. For centuries, people have been captivated by The Virgin of the Rocks because it is a challenging and enigmatic painting. This is a rare example of one of a famous painter’s large-scale paintings. He is known for leaving works unfinished, and even fewer of his works have survived. It reveals some of Leonardo’s groundbreaking scientific discoveries while showcasing the methods and inventions that revolutionized Italian painting (Brooks). The artwork was intended to be a large altarpiece that also featured a wooden statue of the Virgin Mary.

Conclusion and Thematic Connection

In conclusion, Renaissance paintings portray light and science, while impressionist art shows light and time. Themes like people and society were depicted in impressionist paintings, whereas themes like religion and philosophy were depicted in Renaissance artwork. Without religious overtones, Impressionist art evolved in a new and unique way. Instead of emphasizing the pursuit of knowledge and science, Impressionism used art to convey social and everyday life situations. Themes discussed during the Renaissance era expanded and aided human knowledge. Both movements express the development of western art, including the social and historical effect of art and artistic expression, despite their distinctions.

The two paintings share several traits even though they come from various eras and artistic movements. For instance, both Da Vinci and Fuseli modeled their figures using shadow techniques. They produce a gloomy environment where the faces and bodies of the items seem to be lit. This method brings out their beauty. However, the Virgin of the Rocks represents Christianity and its religious setting, even if both paintings depict comparable theological and enigmatic symbolism. At the same time, ancient legends and stories about mysterious monsters are introduced in the Nightmare artwork.

Works Cited

Ames-Lewis, Francis. “Juliana Barone and Susanna Avery-Quash, eds: Leonardo in Britain. Collections and Historical Reception (Biblioteca Leonardiana Studi e documenti 7).” British Art Journal, vol. 21, no. 1, 2020, pp. 89-91.

Brooks, Susie. The Renaissance. Compass Point Books, 2019.

Kryger, Meir H., and Isabella Siegel. “Painting a nightmare.” Sleep Health: Journal of the National Sleep Foundation, vol. 3, no. 6, 2017, pp. 417-418. Web.

Mhaske, Sanghapal Uttam, Mandakini Sharma, and Richa Thapliyal. “Romanticism and Art: An Overview.” Webology, vol. 18, no. 3, 2021, pp. 1200-1206. Web.

Works of art have a unique value since each of them carries a specific important message. Comparison of various works provides an understanding of the worldview that the artists had and how it was influenced by society and the era during which the paintings were created. Hence, within the framework of this work, the works of The Pitti Tondo (1450) by Filippo Lippi and Madonna and Child with St. Anne (1503-06) by Leonardo Da Vinci will be analyzed.

First of all, it is necessary to compare similar parts of the selected works of art. So, The Pitti Tondo (1450’s) and Madonna and Child with St. Anne (1503-06) depict the Virgin Mary with her children in the foreground. Moreover, both works celebrate the birth of Christ and have religious motives (“The Virgin and Child with St Anne by Leonardo da Vinci,” n.d.). Moreover, regarding the artistic components, both paintings have similar color schemes and tones. One of the differences is the number of people depicted in the picture. Thus, when only three people are represented in the painting by Leonardo Da Vinci, Filippo Lippi puts a significant emphasis on the background and especially the tiny details of the painting. Moreover, the works differ in the image of the Virgin Mary’s appearance since Lippi often depicted only blonde women, which was typical of that time.

In conclusion, The Pitti Tondo by Filippo Lippi and Madonna and Child with St. Anne by Leonardo Da Vinci basically have quite a lot of similarities. Hence, both paintings depict religious themes regarding the provision of St. Anne, her daughter, the Virgin Mary, and Jesus. Moreover, both artists praise the birth and value of this religious narrative. The distinctive features are in the compositional aspects of the works and the external image of the Virgin Mary, which were characteristic of the artists.

Reference

The Virgin and child with St Anne by Leonardo da Vinci. (n.d.). Leonardo da Vinci. Web.

Inspiration Piece

The “Mona Lisa”, also known as La Gioconda or La Joconde, is a painting created by the Italian artist Leonardo da Vinci (Zawislak, 2022). The painting originated in Florence, Italy. It is currently housed at the Louvre Museum in Paris, France. It is believed that the painting was commissioned by Francesco del Giocondo, a wealthy merchant from Florence, for his wife Lisa Gherardini, hence the name Mona Lisa. It is considered one of the world’s most famous and celebrated artworks. It can inspire people in several ways (Zawislak, 2022). As a work of art, it inspired me to appreciate the beauty and skill of painting. The painting’s subject, a woman with a mysterious smile, has been interpreted in many ways, which can inspire people to think about the meaning of art and the human condition (Martin & Jacobus, 2014).

My Art Piece

The artwork “Girl with a Pearl Earring” was completed by the Dutch master Johannes Vermeer in the 17th century. One of Vermeer’s most recognizable paintings dates back to 1665 (Elkhuizen et al., 2019). A young girl with a headscarf and pearl earrings gazes pensively and mysteriously at the observer in the picture. Whether the girl is a servant, a member of Vermeer’s family, or a made-up figure is unclear, as is her identity. Light, color, and arrangement make this artwork famous (Elkhuizen et al., 2019). To attain such realism and precision in the details, Vermeer employed a method called “camera obscura” to transfer the picture onto the canvas. The girl’s face is backlit by a gentle, diffuse light that adds depth and character to the picture. Like the “Mona Lisa”, this generates curiosity and speculation. In recent years, “Girl with a Pearl Earring” has gained further fame and interest due to the novel and movie by Tracy Chevalier, both based on the painting and the artist’s life.

Both the “Mona Lisa” by Leonardo da Vinci and Johannes Vermeer’s “Girl with a Pearl Earring” feature a lady with a mysterious look and are widely regarded as artistic masterpieces of their respective eras. The subject matter, medium, and formal aspects of design are all distinct among the works. The “Girl with a Pearl Earring” depicts a young lady draped in a headscarf and wearing a pearl earring, whereas the “Mona Lisa” is widely believed to be a picture of Lisa Gherardini, Francesco del Giocondo’s wife.

Although both are oil paintings, the “Mona Lisa” is more prominent at 77 × 53 cm (30.3 x 20.9 inches), and the Vermeer is much smaller at 44.5 x 39 cm (17.5 x 15.4 inches) (30 x 20.9 inches). Oil paint is a slow-drying medium that allows the artist to blend colors, create a range of textures, and achieve high realism. This medium is particularly suitable for portraiture and allows the artists to capture the subtle nuances of the human face and expression. Oil paint is versatile and expressive, allowing artists to capture subtle details and create realistic effects. Its effect on the spectator creates an illusion of depth and three dimensions. Both paintings use formal aspects of design—composition, light, color, and the placement of the subject—to create a feeling of mystery and intrigue.

Both “Girl with a Pearl Earring” and the “Mona Lisa” are considered masterpieces of their respective periods; both painters were able to capture their subjects in a way that is both realistic and evocative. They share the same thematic connection, a contemplative and enigmatic expression on the subject’s face (Martin & Jacobus, 2014). This creates a sense of mystery and intrigue, drawing the viewer’s attention and encouraging them to contemplate the meaning of the painting.

References

Elkhuizen, Willemijn S., Tom WJ Callewaert, Emilien Leonhardt, Abbie Vandivere, Yu Song, Sylvia C. Pont, Jo MP Geraedts, and Joris Dik. (2019). “Comparison of three 3D scanning techniques for paintings, as applied to Vermeer’s ‘Girl with a Pearl Earring’.” Heritage Science 7, (1), 1-22.

Martin, F. D., & Jacobus, L. (2014). Humanities through the Arts. McGraw-Hill Education.

Zawislak, B. M. M. (2022). Mona Lisa and her mysteries. Digitaliza Conteudo.

Leonardo da Vinci is one of the renowned artists whose artworks can still be traced by the current generation. The artist mainly dwelt in painting, sculpturing, drawing, among other artworks. The main reason for focusing on the artist is his ability to integrate the human perspective using various art techniques. Additionally, he was the first artist to incorporate biblical stories into visual arts. Therefore, I chose Leonardo da Vinci because of his painting The Last Supper or Il Cenacolo, which is a biblical illustration that employs various techniques of art such as gesture, form, and balance.

The main thing that draws people to The Last Supper is the skillful display of every disciple’s specific reaction to the news. One can deduce the disciples’ emotion from everyone’s response to the news that one of the people present would betray Jesus Christ. The portrait illustrated Jesus’ final supper with his followers when he was about to be betrayed by one of his disciples. Moreover, drywall for painting makes it interesting since traditionally, the Italian artists were mainly painting on wet plaster (Bahreynian et al. 40). Furthermore, Jesus and the 12 disciples sit on a long table in a spacious and simple room (see fig. 1). The lack of obstruction in the picture and the simplicity of the room used in the image depict the drama of the event.

Additionally, in this image, all the psychological and compositional focus is on Jesus. Although the disciples look surmised on the news, Jesus remains calm in the picture. The illumination of the light from the main window makes Jesus stand out from the crowd. Moreover, the head of Jesus is the focal point among other parts by converging linear perspectives into the composition. Therefore, the artist’s strategic use of psycho-dimension and 2D focus is distributed equally into the painting. As a result, the drama in the picture is enhanced, thus making it relevant to the context.

Furthermore, form and gesture have been keenly used in the portrait to unify the 12 disciples in the four groups. The followers are organized into groups which are composed of three disciples each, and the groups are distributed equally in each side of Jesus. Da Vinci seems to have gone against the traditional iconography that was widely used to illustrate the drama in the picture (Bahreynian et al. 38). The drama is further depicted with the presence of Jesus in the middle of the table. A man carrying a bag of money in his right hand is seen seated on the left side of Jesus, and this is an indication he is Judas, the betrayer of Jesus. The disciples sitting at both ends of the table seem to be calmer than the rest of the followers, which helps contain the energy in the painting. However, the intensity of the portrait increases as the disciples get closer to Jesus. The latter seems to be aware of the situation and is rarely bothered by others’ actions. One might conclude that the disciples are experiencing psychological disturbance since their reactions in the picture range from fear to horror because they don’t believe that one of them could betray their own.

Another factor that draws me to the artwork is the manner in which the picture portrays the actions. There had never been any artistic painting before to illustrate the activities in the room where the last supper occurred. However, Da Vinci uses the events described in the Bible to bring a visual image of what could have happened in the closed room. During the meeting, Jesus was telling his disciples that one of them was going to betray him in a few hours (Bahreynian et al. 40). Therefore, Da Vinci uses different painting techniques to demonstrate the emotions that every individual present in the room could have portrayed, including Judas Iscariot, who can be clearly distinguished in the crowd. Most importantly, it illustrates the followers’ instant reaction when he immediately revealed the information to his disciples.

I think the painting is more informative than just what people see. It has a much deeper meaning than the apparent displays that are seen at first glance. Through this art piece, Da Vinci demonstrates his exceptional capability to integrate his knowledge of the observable world into a religious scene’s visual representation. He exhibits a successful creation of a compelling and complex psychological piece of art.

Succinctly, The Last Supper, created by Leonardo Da Vinci, is an outstanding piece of art. It uses various techniques of painting to demonstrate an action that is only described in writing. The artist balances form and gesture to reveal the picture’s emotions and mood (Bahreynian et al. 40). Although there are many paintings that Da Vinci created, The Last Supper illustrates fine usage of art. The image has an inner meaning that can only be identified when an individual is keen enough. Therefore, Da Vinci’s work of The Last Supper is still appealing, although it was painted several centuries ago.

Works Cited

Bahreynian, Mahsa Sadat, et al. “Representation of The Last Supper by Leonardo da Vinci in the Postmodern Era Using the Abstract-Minimalism Approach.” The Monthly Scientific Journal of Bagh-E Nazar, vol. 14, no. 51, 2017, pp. 33-44.

Motta, Oriana, et al. “Leonardo da Vinci’s “Last Supper”: A Case Study to Evaluate the Influence of Visitors on The Museum Preservation Systems.” Environmental Science and Pollution Research, 2021, pp. 1-8.

The Renaissance Period has gifted the world with many beautiful and monumental works of art and has pioneered many techniques in painting, architecture, and sculpture. Renaissance art presents itself as superior and surprising as well as amazing the viewer with nearly photographic accuracy and ambiance of the drawings, which were preserved throughout the ages. One of the techniques developed during the early Renaissance period that continued well into the High Renaissance and beyond was the technique of the Illusion of Space. It is a drawing technique, which makes the viewer think that the two-dimensional drawing is three-dimensional and that there is space behind and around the people and objects depicted in the foreground (Raynaud 2016). One of the most famous pictures to use this effect to create volume and depth is the Last Supper, created by Leonardo Da Vinci in 1495 – 1498, which marked the beginning of the High Renaissance in art. Leonardo Da Vinci did not invent the technique, however, and relied on the work of Massacio, also known as Tommaso di Ser Giovanni di Simone, and his famous fresco, The Holy Trinity.

Massacio’s Holy Trinity was painted in 1424, in the church of Santa Maria Novella in Florence. The fresco depicts Jesus Christ on a Cross, the Father, and the Holy Spirit standing behind him (Raynaud 2016). In this fresco, the artist used the one-point linear perspective to convey to the viewers that there is actual space behind in the background behind the objects (Raynaud 2016). In doing so, he made the coffers form orthogonal lines with the vanishing point directly at the eye level of the viewer, which makes the audience believe that the space depicted on the fresco continues into the chapel (Raynaud 2016). Massacio focused greatly on the dimensions of each object, further magnifying the illusion by enabling the viewers to determine the dimensions of the room.

Leonardo Da Vinci’s Last Supper depicts the last supper of Jesus Christ, surrounded by his apostles (King 2012). The viewer is given the narrative perspective to the scene, as the painting illustrates Christ’s revelation that one of the apostles is going to betray him. The hall, where the dinner is taking place, seems to be going further behind the figures, and towards the windows. At first glance, Leonardo’s painting is different from the work of Massacio in that it is drawn on a much wider area. In order to convene the illusion of space, Da Vinci uses the same one-point linear perspective technique that was invented in the Quattrocento, during which Massacio painted his frescos. In both works, Jesus is the center of the composition. However, if in Massacio’s case, the vanishing point was at the base of the cross, in Da Vinci’s work, it is behind his head. The orthogonal lines are also present and could be seen if one is to follow the tapestries located on the top of the wall, or the coffers, to the vanishing point, where they intersect at Christ (King 2012).

In conclusion, it could be said that in his creation of the Last Supper, Leonardo Da Vinci implemented a one-point linear perspective in order to create the illusion of space, which was initially pioneered by Massacio. This shows that Leonardo kept in touch with contemporary artists and was capable of understanding and replicating their techniques, in order to adapt them for his masterpieces.

Bibliography

King, Ross. 2012. Da Vinci and the Last Supper. New York: Bloomsbury.

Raynaud, Dominique. 2016. Studies on Binocular Vision: Optics, Vision, and Perspective from the Thirteenth to the Seventeenth Centuries. New York: Springer.

Of all famous paintings in the history of humankind, Leonardo Da Vinci’s Last Supper takes a very special spot, representing the pinnacle of both Da Vinci’s artistic development and the progress of the Renaissance era. Apart from being rife with multiple Biblical metaphors and incorporating a plethora of nuances, the art piece is also emblematic of an array of painting techniques that were groundbreaking at the time. The painting depicts the eponymous scene from the Bible, during which Jesus Christ shared His final meal with His disciples before His crucifixion.

The design elements of the painting are formally present, yet are not accentuated, allowing the art piece to shine with its harmonic beauty and emphasize its allegorical meaning. Specifically, the linework in the Last Supper is very elegant and careful, with every detail being outlined distinctively yet very delicately. In turn, the color scheme is quite varied, allowing us to embrace the complexity of the character of each disciple, as well as the tapestry of the Biblical narrative, in general. In turn, the depth is astounding, with the specifics of a three-dimensional environment being reflected in the painting impeccably (Lewis and Lewis 285).

The texture also helps to experience the scene shown in the painting on a very personal level since every detail remains distinct and has its unique texture. Finally, the tone of the painting is quite bright, yet several darker spots serve as the foreshadowing of the further development of events.

Da Vinci incorporated several principles of design into his painting. Namely, the symmetry of the painting leaps out as an obvious element of its structural framework. The harmonic distribution of elements on both sides of the said vertical axis introduces a sense of peace and meditative tranquility. Overall, The Last Supper deserves the title of the seminal work of the Renaissance era.

Work Cited

Lewis, Richard L. and Susan I. Lewis. The Power of Art. Cengage Learning, 2009.

The first image is an example of postmodern art. The installation The Dinner Party was created in 1979 by Judy Chicago. The second image is a piece of Renaissance art entitled The Last Supper and created by Leonardo da Vinci in the 1490s.

The former alludes to the latter work as The Dinner Party is a feminist’s response to one of the most famous artworks. The postmodern piece questions the norms and conventions of the patriarchal society depicted in da Vinci’s painting. Judy Chicago creates an alternative for women who also contribute to the development of the human civilization although remain unnoticed even in the 20th and 21st centuries.

The ideas behind the works of art under consideration are rather different, but they have are characterized by similarities. For instance, Da Vinci and Chicago used numerous symbols to convey their ideas. Geometrical precision and symbolism are characteristic features of these works. Both artists paid considerable attention to numerical symbolism. Da Vinci grouped apostles to form four distinct companies of three people as this number is central to Christian beliefs.

Chicago places 13 women at each side of her triangle table. Interestingly, this number is associated with the underworld. However, overall, thirteen people are on da Vinci’s painting as well. The meanings engraved in the two works circulate around one major idea related to the development of the human society. Da Vinci revealed men who shaped the world by propagating Christianity, while Chicago depicted women who also contributed to the evolvement of humanity in different ways.