| Papers [1-5] of 5 | Search results on "ANNUNCIATION": |
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"The Annunciation", 2005.
Examines the painting techniques and style of mannerism in "The Annunciation" by Parmigianino.
2,250 words (approx. 9.0 pages), 4 sources, $ 89.95
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Abstract
In this paper, the artistic style of mannerism are brought forth in analyzing the stylistics of the "Annunciation" by Parmigianino. The various aspects of historicity and political perspectives of this painting are analyzed within the scope of a technical analysis of how the piece was composed. Through an understanding of brushstrokes, lighting, theological characterizations, as well as the concepts of humanist elements in this painting, the paper shows the innovation and bizarre nature of Parmigianino's work.
From the Paper
"This artistic evaluation will encompass the various stylistics of mannerism that reside within the painting "The Annunciation" by Parmigianino. By analyzing the physical forms of the Christian characters within this painting, one can realize hoe Mannerism depicts elongated and distorted human figures. In this medium, the use of color can also be expressed to understand this artistic style in relation to religiosity of the composition. Furthermore, by evaluating the line and brush strokes used in this painting the ideal of mannerism becomes apparent, as Parmigianino depicts a sense of In this manner, Parmigianino is depicting the elongated form to The color used in this composition is directly related the religious theme of godliness that Parmigianino found within iconographic paintings."
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'The Annunciation' as Interpreted by Francisco de Zurbaran, 1999.
2,330 words (approx. 9.3 pages), 1 source, $ 71.95
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Abstract
This paper is a critical analysis of "The Annunciation", by Francisco de Zurbaran. It considers the choices made by the artist, including time, characters, and emphasis. Specifically, Zurburan decided to paint the scene as if the Virgin Mary had already received her message. This topic is explored, especially as it relates to other painting of the same subject. Also, the somber tome is considered; which conveys a message of importance in and of itself. Finally, the surroundings within which the artist places Mary conveys a ?heavenly? idea.
From the Paper
"A person who learns that she is going to give birth to the Son of God experiences a unique event. In Christian history, the only person that had such a privilege was the Virgin Mary. The scene where the archangel Gabriel has alighted near her to tell her the startling news has fascinated artists throughout time and throughout the world. There are innumerable emotions and interactions that can be interpreted from the biblical text describing the exchange between the two protagonists. In attempts to illuminate some of them, different artists have used a variety of parameters and techniques to show their audiences what they considered to be the important ideas connected with the annunciation. These and concepts include the actual point on the time-line between Gabriel?s arrival and departure that the artist chooses to depict, the physical gestures and positions of the figures, and actual physical methods employed in the creation and composition of the work itself such that a viewer?s attention is drawn to a certain aspect of the event."
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"The Holy Trinity" and "The Annunciation", 2004.
Comparison of the style of two religious works of art.
1,040 words (approx. 4.2 pages), 0 sources, MLA, $ 36.95
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Abstract
This paper compares the style, subject matter, and treatment of two 15th-century art pieces, "The Holy Trinity" and "The Annunciation". It looks at the style of art that was popular at the time the objects were painted, the similarities and the differences in the artworks, and the concept of time present in both works.
From the Paper
"But a look inside the central panel reveals that although the figures are supposed to be the historic Mary and the angel, the clothing, furniture, pottery, windowpanes, fireplace?all these are of the period in which the painting was created. That suggests that the apparently 15th century figures in the left panel are as historical as Mary and the angel, and the artist has simply chosen to portray them all in ?current time? with current props. Still, the possibility that the artist was playing with time while presenting a miraculous event is seductive, and cannot be ruled out. After all, it was the age of alchemy, and many believed in things far stranger than that a 15th century priest could be ?viewing? an event that happened 9 months BC."
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Angel's In Italian Renaissance Art, 1994.
Analysis of the position that angels hold in Italian Renaissance art. Focus is on iconography of the Archangels. Describes such paintings as: THE ARCHANGEL MICHAEL; Lotto's THE ANNUNCIATION; & Savoldo's ST. MATHEW & THE ANGEL.
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"Angels hold a particularly important position in Renaissance art, and the iconography of the Archangels is especially meaningful. The Archangels are the seven angels who stand before God in Revelations. The Koran of Islam only recognizes four and only names two. Christian and Jewish sources agree on the number seven, but there is a debate over who they actually are. Four names appear regularly in these discussions, however--Michael, Gabriel, Rapha-el, and Uri-el. The other three traditional candidates are chosen from Metatron, Remi-el, Sari-el, Ana-el, Ragu-el, and Razi-el (the suffix "el" means "brightness" or "shining"). The Archangels are said to be messengers who carry Divine Decrees, and they are considered the most important intercessionaries between God and humans. It is they who command the legions of Heaven in their constant battle with the Sons of.."
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The Virgin?s Passion, 2004.
A review of the art piece, "Diptych", found at the Minneapolis Museum of Art.
1,209 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
This paper presents a description of the piece of art known as "Diptych", which portrays a series of scenes from the life of Christ, beginning with the Annunciation and proceeding through his birth, adoration by the Magi, betrayal, death, ascension, and the final gift of his spirit to the people at Pentecost.
From the Paper
"Stylistically, this piece seems both common to its time and yet also enlightening as to its historical moment. There is a certain classical stylization to the flow of the drapery and clothing about the figures which has evolved from the more formless shapes of the earlier middle ages, and hints at an evolving classicism and awareness of form that heralds the oncoming Rennaissance. The characters are in constant contorting motion, and the drapery about them is used to accentuate the angles at which they are caught, and an articulated body is visible below. ?In the Gothic figure no such differentiation exists? (Iskold), until the Gothic begins to blend into the Rennaissance."
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