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Key words ARTHS TXTBOOK PG. 557: wealth, extravagant, velvet heuque, ostentatious, value, sacred, spiritual, rosary, all-seeing eye of god, St Margaret

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Faith-  Jesus's presense shown through relics between couple - Van Eyck DOUBLE PORTRAIT OF GIOVANNI ARNOLFINI AND HIS WIFE- 1434. Oil on wood panel, 33 x 22½" (83.8 x 57.2 cm). The National Gallery, London.

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Faith-  Jesus's presense shown through relics between couple - Van Eyck DOUBLE PORTRAIT OF GIOVANNI ARNOLFINI AND HIS WIFE- 1434. Oil on wood panel, 33 x 22½" (83.8 x 57.2 cm). The National Gallery, London.

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*all quotes from chapter 19 pg 575 of the ARTHS TXTBOOK

What is the subject matter and iconography?

From my eyes, the subject matter consists of a couple who seem to be very wealthy due to their extravagant clothing. The violet color and the so called material of velvet heuque, along with the many folds of material, all play apart in representing wealth. They are in a formal room which seems to be a bedroom which is lavished in lots of decor. Some iconography depicted in the textbook in chapter 19 on page 575 is that sacred symbolism is shown through the depiction of prayer beads hanging next to a mirror and "the mirror itself- a symbol of the all-seeing eye of God." I recall reading that it was unknown whether the bump of the woman's dress was fabric or if the woman was bearing a child. The textbook also states the symbolism of the Saint Margaret being depicted stating she is "protector of woman in childbirth."

What is the style?

The style of this artwork is seen to be an example of Early Northern Renaissance. The picture is an excellent example of Northern Renaissance oil painting skill since it is full of intricate details, brilliant colors, and sophisticated use of light. Though this piece was painted on wood, Van Eyck's ability to depict surfaces and textures is heavily noticeable. Realism is being through the reflection in the mirror and the elaborate patterns of the subject's clothing. Van Eyck was able to produce an unmatched level of detail using oil painting that would have been challenging to accomplish with other mediums, as evidenced by details like the intricate chandelier and the dog's fine hairs. Linear perspective is also used which helps us aim our attention to the couple but also the religious symbols directly behind them.

Who was the original, historical audience for this artwork?

The original historical audience of this artwork was for the wealthy Giovanni Arnolfini and his wife. Arnolfini came from wealthy merchant background which gave him power to hire an artist to make a double portrait of him and his lover. Because it is a double portrait I believe this piece was meant to stay among the living courters of the couple. To that, he hired Van Eyck. In the text it states that Arnolfini was able to hire the artist because he was a wealthy "italian cloth merchant providing luxury fabrics to the Burgundian court."

How did the subject and style satisfy their desires?

The subject matter of oil paint, gives the work an expensive shine that aids in the wealthy image of the couple. For example, he added various reflected surfaces, as those in the chandelier and mirror. Again the symbolization of christianity and Jesus come into play because all represent the value in the marriage: the all-seeing eye of God in the single candle and mirror, the clogs signifying sacred ground, the beads signifying piety, and the finial of St. Margaret, and again the patron saint of childbirth. Through the depiction of the couple shown in unity and in their home Van Eyck made a well done image for the couple's home.

How did it fit their historical values and way of life?

Van Eyck did a good job when depicting the values of the couples life when integrating symbols of christianity to the painting. As said before, the prayer beads, mirror, and referal to St. Margaret aid in the couple's christian life. I feel as though the depiction of unity between the couple through hand holding also aids to their values in life. I believe this because both are embellished in valuable clothing. Another form of wealth is the dog which is said wisely picked due to the "ornamental breed for inclusion ...to express wealth.." But, the book states that Eyck's personal style aids to the desire and value of authority because of the woman's "doll-like face...standing next to Giovanni is less individualized." I also believe this because the woman's authority is lowered when she stands shorter than her spouse.

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key words ARTHS TXTBOOK PG. 650: parallel, monastic, gathering, vanishing point, one-point linear perspective, pyramidal disciples, coffered ceilings, refectory, fictive, stagelike

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Before Death-Jesus's Last Encounter with Apostles: Leonardo da Vinci THE LAST SUPPERR- refectory of the monastery of Santa Maria delle Grazie, Milan. 1495–1498. Tempera and oil on plaster, 15'2" x 28'10" (4.6 x 8.8 m).

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Before Death-Jesus's Last Encounter with Apostles: Leonardo da Vinci THE LAST SUPPERR- refectory of the monastery of Santa Maria delle Grazie, Milan. 1495–1498. Tempera and oil on plaster, 15'2" x 28'10" (4.6 x 8.8 m).

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*all quotes from chapter 21.2 pg 650 of ARTHS TEXTBOOK

What is the subject matter and iconography?

The subject matter of this piece is primedial Jesus who is depected upon his 12 deciples. By Jesus being centered it gives him authority and respect among his piers. The figures are seen to be gathered while sitting, chatting, and eating around a long parallel table. This scene depicts the last time Jesus sees his deisciples before his death and acknowleging them that they will betray him. Compared to the DOUBLE PORTRAIT by Eyck, Leonardo's approach in portraying the the Christian faith and the figure of Christ is done when Jesus is at the last supper not through the use of relics such as the rosary.

What is the style?

Similar to the DOUBLE PORTRAIT Leonardo also uses linear perspective that aids our focus on Jesus. The figures are thought to be present among a stage-like scenery where a vaniching point is focused towards Jesus. This is told on page 650, "The stagelike space recedes from the table to three windows on the back wall, where the vanishing point of the one-point linear perspective lies behind Jesus’s head. A stable, pyramidal Jesus at the center is flanked by his 12 disciples, grouped in four interlocking sets of three." By having the disciples depicted in interlockig sets it helps aim the eye towards Jesus. With the careful use of perspective, pyramideial form, and stabiity the painting shows characteristics that belong to the roman high renaissance style.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

Leonardo had commisioned this work for a Dominican convent in Milan. Leonardo did a well job of representing christianity through his perspectives and mathmatical skills to focus on the main symbol of Christianity in one's life, Jesus. Leonardo was very skilled in painting human behavior which made this scene an even more praised piece of symbolizing one's faith. It is claimed that the clarity and effectiveness of his artistic abilities enable him to effectively capture human emotions in this composition of a symbolic recall of Jesus's impending atonement for humanity's salvation, which served as the basis for the establishment of the Mass. Leonardo also wanted to focus on clarity and balance when placing Judas near Jesus's right side rather then isolating the trader to emply "Judas set in motion the events leading to Jesus’s sacrifice. "

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key words ARTHS TXTBOOK PG. 691: frontal, hieratic, devootion, spiritual, biblical, genius, God-like, triangular position, high renaissance, vertical axis

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Portrayal- Jesus's Reflection In Oneself: Albrecht Dürer SELF-PORTRAIT-1500. Signed “Albrecht Dürer of Nuremberg … age 28.” Oil on wood panel, 26¼ x 19¼" (66.3 x 49 cm). Alte Pinakothek, Munich.

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Portrayal- Jesus's Reflection In Oneself: Albrecht Dürer SELF-PORTRAIT-1500. Signed “Albrecht Dürer of Nuremberg … age 28.” Oil on wood panel, 26¼ x 19¼" (66.3 x 49 cm). Alte Pinakothek, Munich.

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*all quotes from the module video "Dürer: Great Artists (Series 1) and the module unit V module 3

What is the subject matter and iconography?

The subject of this piece is a 28 year old Durer identifying himself as Christ. Unlike the THE DOUBLE PORTRAITE by Van Eyck Christain faith and Jesus's portrayal is shown through a self representaion of Christ not through relics. In the module V3 the first video discuses how the posture in which Durer depicts himself, helps aid in the idea that he is representing himself as Christ. The pose with hands and intense look uses Salvator mundi which is a depiction of Christ refering him as the savior of the world. Also, the curling of the right hand is thought to be a symbol of prayer or blessing preformed by Christ.

What is the style?

This art piece follows the style of the 16th century art in Northern Europe. Stated in the video, it was said that this piece was similar to that of Byzantine style too when stating "The picture is mirrored and modeled on the Byzantine approach to painting Christ." The piece can be similar to that of THE LAST SUPPER by Leonardo when also constructed around the main focus point of Jesus or a Jesus portrayal. "Christ" here is a fully frontal focus point that seems to be confronting us and staring at us. It is a realisitc piece of art shown through the detail of the wavy and glistening hair and the staring of the eyes, making direct contact with the viewer.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

The original audience was for Durer himself. As stated in the video "Dürer: Great Artists." The artist satisfied his desires when symbolizing his wealth through the depiction of a coat, "wearing a fashionable fur coat, and so he'd proclaiming his own status, his own success. He's also proclaiming his own technique and talent." It was an artwork that was used to sell himself and his work showing his skills through such detailed characteristics. We known that Durer values the way of Christain life when making this portrait as a devotion to Christ and putting "himself in the place of Christ his savior. But he's also identifying himself with Christ."

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key words ARTHS TXTBOOK PG. 658: mourning, marble, renaissance, carving, virgin, tomb, monument, pieta, heroic, lifeless, inconsistance                       

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Death-Love Between A Mother and Son: Michelangelo Pieta c. 1500. Marble, height 5'8½" (1.74 m). St. Peter’s, Vatican, Rome. 

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Death-Love Between A Mother and Son: Michelangelo Pieta c. 1500. Marble, height 5'8½" (1.74 m). St. Peter’s, Vatican, Rome. 

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*all quotes from module unit V module 1 and pg 658 ARTHS TXTBOOK

What is the subject matter and iconography?

The subject matter depicts the dead Jesus Christ after being crucified and Mother Marry taking hold of her child. The depiction of the figures is done as Pieta which is the image in which Mother Mary supports and mourns the deceased Jesus in her lap. Compared to the DOUBLE PORTRAIT by Van Eyck, here Jesus's figure is depicted after his death and in the form of sculpure not the use of relics such as rosary or the reflection of Jesus in oneself such as the SELF-PORTRAIT by Durer does. Imagery of life and death resembled through Jesus lifeless body and mary’s breast are presented which resembles the time close to when jesus was born.

What is the style?

The syle of this art work is Roman high Renaissance. High Renaissance features are seen through the classical details in the body through anatomy. Jesus's body is heavily detailed throught the depiction of his bones and muscles. On page 659 of the chapter 21.2 it is said to be an inconsistency in the scale of the figures when Jesus is an unanturally smaller lifeless body and "when contemplating the sweetness of expression, technical virtuosity of the carving, and smooth interplay of the forms."

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

This artwork was said to be a tomb monument in Old St. Peter's and was commisioned by a French cardinal.The big structure satified Leonardo's desire when supposed to be viewed up close, "Michelangelo’s compelling vision of beauty was meant to be seen up close so that the viewer can look directly into Jesus’s face." This helped aid in the Suffering both mary and Jesus went through: Jesus tortured before his death and Mary suffering of her child's death. This image can also relate to the function of being a tomb monument because it shows the suffering of Marry when her loved one died and when the function of a tomb is to bury a loved one.

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Key Words ARTHS TXTBOOK PG. 652: elegant, Madonna, pendant, panoramic, balustrade, 3 dimensional, innovative  representation, sumptuous, coiffure, ostentatious

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Love- Connection Between a Mother and Baby Jesus: Raphael MADONNA OF THE GOLDFINCH-(MADONNA DEL CARDELLINO)1506. Oil on panel, 42 x 29½" (106.7 x 74.9 cm). Galleria degli Uffizi, Florence. 

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Love- Connection Between a Mother and Baby Jesus: Raphael MADONNA OF THE GOLDFINCH-(MADONNA DEL CARDELLINO)1506. Oil on panel, 42 x 29½" (106.7 x 74.9 cm). Galleria degli Uffizi, Florence. 

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*all quotes from chapter 21.2 pg 652 ARTHS TXTBOOK

What is the subject matter and iconography?

The subjects in the painting are the Virgin Mary, baby Jesus, and his second cousin John the Baptist. Mother Mary is depicted holding a book which can act as a symbol of her wisdom. Then, John the Baptist is depicted wearing animal cloth as clothes which hints at his future in the wildness and the cup attacked to his clothing resembles the cup in which he uses in Jesus's Baptism. A Goldfinch is also depicted and resembles Christ's passion resembling his suffering and brutal death. The subject matter can be different from Michaelangelo's PIETA because here a baby Jesus is being depicted not the grown Jesus. Also, through the slight stare in Mary's face we viewers can imply that she is watching over the children carefully.

What is the style?

The syle belongs to Roman High Renaissance. The three characters are depicted in a triangular shape manner which resembles their relationship with one another. A central focus point or central weighting can be seen directed to the three characters when there is a space in the clouds above them. With Mother Mary depicted close to the center and the toddlers centered on opposite ends of her it is thought to represent bilateral symmetry which means "equivilant forms have been placed to the left and right of an implied vertical axis at the center of the picture, with the two sides matched and balanced in a mirror correspondence." A horizontal axis is also seen through the grass meeting the water and also Mary's belt horizontally in accortance with the grass background, showing balance in the style. And lastly classical contrapposto form is seen in the baby Jesus with his sligghtly twisted torso, bent knee, and his raised arm.

Who was the original, historical audience for this artwork? How did the subject and style satisfy their desires? How did it fit their historical values and way of life?

In the video belonging to chapter 21.1 pg 652 it states that the work was made "for private patrons and used for aids in personal devotions in their homes." It was commissioned by a wealthy whool merchant named Lorenzo Nasi for his marriage. I feel as if the style and subject fit into their desires especially because since it was for a marriage it means unity and love between another and thats exactly what the picture shows. The picture shows unity between the Virgin marry through the personal connection seen through jesus's foot touching Mother Marry's foot. This unity can also be similar to Van Eyck's DOUBLE PORTRAIT when the husband and wife are both shown to be unified through the holding of eachother's hands while in this picture unity is shown through Jesus foot touching Mary's. This image in a way can also relate to Michelangelo's PIETA because the dead Jesus is depicted laying in the lap of his mother while in the MADONNA Jesus is in bewteen the legs of Mother Mary.

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Authors Note

The purpose of my final project was to illustrate how artists have interpreted Jesus or the Christian faith over the ages. I wanted to display artwork that echoed the themes of faith, love, and the various ways that Jesus' life and presence have been portrayed. For instance, in the first, I aimed to demonstrate how relics like the rosary—which represents faith—were used to emulate the Christian faith of Jesus. In the second, I intended to depict Jesus among his apostles in the condition he was in prior to his crucifixion. The third, on the other hand, depicts Jesus as an individual. The fourth depicts mother Mary's love for her deceased son. And lastly, the fifth slide shows how the love between Mother and child are still shown similar to the portayal of Christ to different art before it.