| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "PAINTING MADONNA CHILD": |
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Painting Madonna and Child, 2008.
This paper analyzes the formal, iconographic, and historical themes in the work 'Madonna and Child' by Duccio di Buoninsegna.
1,162 words (approx. 4.6 pages), 5 sources, APA, $ 40.95
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Abstract
In this article, the writer discusses the painting 'Madonna and Child' by Duccio di Buoninsegna. The writer notes that the Italian formalization of the Gothic style was implemented within the medium and stylistics of this medieval painting. The writer points out that Buoninsegna's style was part of the Sienese School, which held to the non-passive dictates of religiosity within the Christian iconography in the 13th and 14th centuries. The writer maintains that Buoninsegna was influential in creating a non-passive baby Jesus, which helped to transform the way that the Madonna and Child had been perceived earlier in Christine art. In essence, the formal, iconographic, and historical facets of 'Madonna and Child' by Duccio di Buoninsegna are analyzed in this study.
From the Paper
"The medium of the painting is the common usage of tempera on wooden panels. In the late medieval style it was common to use this form of paint to help bring about a lush and thick layer-based type of paint to bring out the varying contrasting hues. Also, the painting uses gold to help bring about the divine sunlight or religious light of Jesus, as he is reaching toward his mother's face. Mary is draped in a black gown as she looks down upon her divine child. Gold inner-fabric is surrounding her face, as the artist is clearing defining a demarcation of her face in contrast with her dark hood, as she is gazing downward in majesty. The composition has Mary centered in the painting, but has the baby Jesus set off the lower right side."
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Madonna and Child, 2002.
Analyzes two versions of the "Madonna and Child" painting by the Master of Sforza and Bugiardini.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
This paper compares two paintings, the Altarpiece known as "Madonna and Child with Saint Roch and a Donor" by the Master of Sforza (c. 1460), and the "Virgin and Child with Saint John the Baptist" by Giuliano Bugiardini.
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"Madonna and Child", 2002.
A review of Francesco de Simone Ferrucci's "Madonna and Child".
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This essay examines Francesco de Simone Ferrucci's famous art work the "Madonna and Child." In many respects, Ferruci's painting of the Madonna and child represented certain themes in late fifteenth-century Florentine art. The painting depicted the living body and represented the religious theme of what the Madonna and Child symbolized. More than anything else, Ferrucci focused on showing the loving nature of the Madonna herself.
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Raphael's "The Small Cowper Madonna" and Angelico's "Madonna and Child", 2002.
This paper analyzes the two paintings, comparing and contrasting the two from an art/history perspective.
1,030 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
The paper compares and contrasts these two Renaissance interpretations of the Madonna and Child. It looks at the differing stylistic elements and discusses why the paintings are significant works of art for their timeframe. The attempt to blend the real world with the spiritual is explored and the painters? different techniques in their quest to achieve that blending are studied. The paper concludes with a concise summary of the similarities and the differences between these two paintings.
From the Paper
"Raphael spent several years in Florence where he produced seventeen images of the Virgin Mary and Child. During that time, Leonardo da Vinci and Michelangelo were his primary teachers, which would account for his stylistic rendering of the Madonna and Child. The Small Cowper Madonna, which was done in oil on wood and was completed around 1505, reflects the innovations that he learned form his years with Leonardo. He mirrored the Florentine method of painting that concentrated on intimacy and simplicity of the setting."
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Raphael's "Madonna and Child Enthroned with Saints", 2005.
Describes and analyzes Raphael's "Madonna and Child Enthroned with Saints."
900 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper describes Raphael's famous painting "Madonna and Child Enthroned with Saints." The paper provides a history of the painting. The author analyzes its composition and colors as well as the conservative style of the painting and its classical details.
From the Paper
"Rafaello Sanzio, known as Raphael, painted the "Madonna and Child Enthroned with Saints" early in his career The painting was an altarpiece executed for the small Franciscan convent of Saint Antonio de Padova in Perugia and hung in the part of the church reserved for the worship of nuns. (Metropolitan Museum of Art) Also known as the Colonna Madonna or Altarpiece, a reference to Raphael's patrons, the powerful Colonna family the work consists of two main sections..."
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"Madonna and Child", 2002.
Discusses the symbolism and representation of Francesco de Simone Ferrucci's sculpture "Madonna and Child".
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This essay discusses Francesco de Simone Ferrucci's sculpture "Madonna and Child." It examines how the sculpture is a representation of the loving and empathetic virgin who merges physically with her child, Jesus Christ. The sculpture symbolizes the physical nature of the relationship between the Madonna and child and, in many respects, is connected to the emotional bonds between them.
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Madonna & Child, 2001.
Visual analysis of two paintings on subject: Gentile Da Fabriano's "Madonna & Child, with Sts. Lawrence & Julian," & Jan Van Eyck's "Virgin & Child, with Saints & Donor."
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"One of the most frequently favorite subjects in religious art throughout the fourteenth and fifteenth centuries was that of the Madonna or Virgin and Child. The birth of Christ and the Crucifixion sit at the very center of Christian iconography. Most of the great artists of the Middle Ages and the Renaissance painted at least one if not more versions of the Madonna and Child, often surrounded by lesser portraits of saints and even portraits of the donor or patron commissioning the work. This brief report will present a visual analysis of two such works found in the collection of the Frick Museum. The first is Gentile Da Fabriano?s Madonna and Child, with Sts. Lawrence and Julian. The second is Jan Van Eyck?s Virgin and Child, with Saints and Donor."
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"The Madonna and Child", 2002.
Shows how both artists, Giovanni Bellini and Raphael represented the Madonna and Child through their works.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This paper will compare and contrast two representations of the Madonna and Child by two artists who have been particularly associated with the representation of this motif - Giovanni Bellini and Raphael.
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Personal Reflection on the Schone Madonna and Child, 2000.
The author reflects on an Austrian sculpture and its place in the tradition of such sculptures.
669 words (approx. 2.7 pages), 0 sources, $ 23.95
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From the Paper
" The term of a Schone Madonna means a beautiful Madonna; which I think gave justice to the lovely sculpture from Salzburg, Austria. Like many Schone Madonnas she had the common S-curve figure and her stance. The Madonna?s stance made her seem as if she was in the midst of rocking her baby ? The Christ Child to sleep. Though her body parts were heavily hid through the long draping garments; her position made it that she was standing with one leg straight while the other leg bent at the knee. "
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The Rules of Landscape Painting and the Poetic Practice of Xie Ling-Yun, 2002.
A review of Xie Ling-Yun's poem "Visiting the Southern Pavilion" in light of the generic rules of landscape painting.
1,400 words (approx. 5.6 pages), 2 sources, $ 53.95
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Abstract
This paper will discuss the representation of the natural landscape in Xie Ling-yun's poem "Visiting the Southern Pavilion". It will be shown, through a comparative analysis of Chinese texts on landscape painting, that Xie Ling-yun's poem plays with, and is juxtaposed against, the generic rules of landscape painting. The poetic landscape, which appears to be a celebration of the beauty of summer, is actually a reflection upon mortality and suffering. From this perspective, Xie Ling-yun's poem may be seen to have philosophical depth lacking in most landscape painting.
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Thomas Cole's Painting: "The Architect's Dream", 2007.
This paper discuses Thomas Cole's painting "The Architect's Dream" (1840, oil on canvas) housed in the Toledo Museum of Art.
1,410 words (approx. 5.6 pages), 4 sources, APA, $ 46.95
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Abstract
This paper explains that the painting "The Architect's Dream" by American artist, Thomas Cole, masters historical perspective by combining structures from several epochs--Egypt, Greece, Rome and Europe--within the confines of a simple painting, thus depicting the evolution of architecture. The author points out that Cole, who was the founder of the Hudson River School, a group of artists that followed the style of American romanticism and realism, filled the landscape of this painting, accurately and in detail, with human structures of each age. The paper concludes that this piece of art from the romantic times is not so much a history lesson as it is a story of human ingenuity and spirit, which praises man's triumphs throughout the ages by giving tribute to the beauty of history's great accomplishments that still inspire humankind today.
From the Paper
""The Architect's Dream" is a large painting, about 8 feet long by 6 feet tall. Just looking at the different buildings throughout the eons is very enthralling. And so, I stood in front of this painting for at least ten minutes just taking in the sheer power of it. I imagined what it would look like IF someone actually built a city like the one Thomas Cole painted. I could see the romanticism in the expression on the Architect's face as he lays relaxed and wondering about his strewn books. I put myself in his position and tried to imagine looking upon such a dream city, but in reality."
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"Joan of Arc" Painting, 2007.
This paper offers a critique of Jules Bastien-Lepage's painting "Joan of Arc".
1,200 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
In this article, the writer discusses that the "Joan of Arc", painted by the French artist Jules Bastien-Lepage, during the Impressionist era in 1879, reflects the artist's belief that art should depict nature's truth. The writer points out that Bastien Lepage's views, which made very specific and clear observations about existence and life, made his work both distinctive and unique. This essay critiques Jules Bastien-Lepage's 'Joan of Arc' through analyzing the painting's composition, which included line, form, balance, repetition, and focal point. Some discussion is then given to the artist's use of color and texture, while reflecting on the suggestion of space. Finally, the paper concludes with a personal consideration of this 19th century masterpiece.
Outline:
Introduction
Joan of Arc - A Mystic Euphoric
Conclusion
From the Paper
"When first viewing this picture, it would that Jules Bastien-Lepage created a realistic scene: A beautiful stone cottage, so typical of those throughout the French countryside, which is surrounded by a delightful working garden filled with fruit, vegetables, and flowers. Towards the left side of the painting, stands an old, gnarled apple tree, while to its right, stands a young peasant girl. Behind her, however, and just in front of the cottage, hovers the supernatural presence of three spiritual beings. Their transparent bodies almost blending with the cottage walls and the garden, they stare down at the young Joan of Arc, who, it would appear, is listening to something."
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?Large Bad Picture?: Positioning the Painting, 2005.
Examines the role of the painting in ekphrastic poetry, using Elizabeth Bishop's poem, "Large Bad Picture" as an example.
1,870 words (approx. 7.5 pages), 3 sources, MLA, $ 59.95
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Abstract
This paper examines the role of paintings in ekphrastic poetry (the rhetorical description of a work of art). It shows how Elizabeth Bishop makes her fictional painting 'real' through her poem, "Large Bad Picture". It presents a comparison between "Large Bad Picture" to W.H. Auden's "Musee des Beaux Arts." The paper also provides an examination of how Bishop divides her poem between setting the scene and then delivering the poem's argument.
From the Paper
"Having settled her reader comfortably, Bishop then takes the next two stanzas to describe in clear, precise language the subject of the painting. In one long sentence enjambed over two stanzas, she describes the sunset, the span of high blue cliffs and the small caves that dot their base. The final line of the third stanza returns the reader to the title describing the caves that riddle the cliffs as being "masked by perfect waves." (12). Her description of the waves as being "perfect" give the first hint of her contention that this is a bad picture. The reader begins to understand that this composition, while possibly well executed, is unrealistic, that the painter has seen perfection in natural phenomina that are inherently imperfect and organic."
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History of British Painting, 2002.
Examines the history of British painting in the 1900s and assesses some of the works of English artists of that period.
2,650 words (approx. 10.6 pages), 7 sources, $ 97.95
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Abstract
This research paper examines and analyzes the history of painting in the twentieth century in the British Isles. The work of English artists such as Roger Hilton, Terry Frost, Adrian Ryan, Stanley Spencer, Victor Pasmore, and Laurence Stephen Lowry are assessed.
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Dutch 17th Century Painting, 2002.
A look at the domestic heroine and the love-sick maiden in Dutch seventeenth century painting.
2,400 words (approx. 9.6 pages), 19 sources, $ 89.95
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Abstract
This ten-page undergraduate paper examines and analyzes images of the domestic heroine and the love-sick maiden in Dutch seventeenth century painting. Domesticity and female complaints are contrasted as they are presented in selected works by seventeenth century Dutch genre painters such as De Hooch, Steen, Maes, and Vermeer.
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