The Adoration of Jesus and His Angels- Simpson Berry III

This gallery showcases how pious artists who paint Christ Jesus and other important biblical scenes use compositional and formal artistic elements in order to direct the audience's attention and drive emotion. 

In this piece, the Virgin Mary is seen walking toward us (Earth) from the heavens with Jesus in her hands. Rahpael uses perspective to descriptively depict part of her journey between realms. The virgin is seen walking through two kneeling saints, with many light blue faces of angels overlooking her from the curtain of heaven. According to our perspective alongside the viewpoint of the saints, the focal point of the piece is the infantile Jesus.
This piece depicts the battle between archangels and fallen angels. Pieter Bruegel utilizes perspective in such a way that helps the audience capture the entire scene in all of its extreme moral/physical chaos, adding emotion. Our perspective also leads us to focus on St. Micheal in the middle of the piece, as he stands ready to strike a dragon with his sword. Bruegel also significantly utilizes texture, contrast and variety. The good angels are shown with clean shimmering garments while the fallen angels are depicted as varying animals with rough, juxtaposing body parts.
In this piece the Virgin is shown enthroned with the baby Jesus sitting on her lap and four young angels surrounding them. First off, the staunch-white colors of the characters give this piece a reverent and peaceful air. Spacial perspective is used in the piece to establish the baby Jesus as the focal point, as everything else in the painting revolves around him. Also, using the throne as a reference, the baby jesus is the frontmost character in the painting. All four characters gaze at Jesus with awe, and this emphasis of a specific line focuses the audiences and adds to the audience's adoration of Jesus.
This piece is often described as "Madonna of Humility," because unlike most pieces depicting the Virgin Mary, this one shows her on the ground as opposed to sitting on a throne, and wearing a robe, sandals, and turban as opposed to more exquisite wear. Right away, the theme of perspective is manifested and we find ourselves focused on baby Jesus accepting the cross from the Baptist. Perspective also helps us to obtain a certain feeling of intimacy in the interaction between the Virgin, Jesus, and the Baptist.
This scene depicts a different version of the Adoration of the Magi. Unlike most depictions, Botecelli's Adoration is set in the ruin of a temple as opposed to a stable. Emphasis is placed on the baby Jesus, as the shepherds gathered all kneel in his direction. The unity of the shepherds accompanied by the repetition of pious expressions of humility also add to my collection's overall theme of the adoration of the Son of God and his Angels.
In this piece, Mary and Joseph gather with shepherds over new-born Jesus. Looking at the shepherds first, their movements, in that they kneel before Jesus before Mary and Jospeph do, already establishes the fact that they recognize his divinity. The unity of the four adult characters over the Baby Jesus adds to my theme of adoration, and this unity establishes a gentle and intimate atmosphere for the piece.
Here, Grünewald gives his interpretation of the crucifixion of Jesus Christ on Calvary. One of the important things about Grünewald is that he believed that in order to experience deep intrinsic faith, one must "reexperience within himself not only the boundless joy of Christ's triumphs but also the searing pains of his cruxifiction." Buidling from this belief, he used color, emphasis, and movement in order to invoke emotion but by showing Jesus at his virtually most painful time instead of is his triumphs. The overall color pallet is dark and grim; the sky is dark green and Jesus' body is a sickly green color. The movements of John the Evangelist, Mary Magdelene, and the Virgin Mary are desperate and filled with sorrow, thus adding to the atmosphere of the piece. Overall, Grünewald chose to use a depiction of Jesus in his most vulnerable point in order to, in turn, incite adoration.
In this piece, the Virgin Mary cradles the baby Jesus in one arm while grasping a white rose in the other arm. Whats most noticeable is the scale of the characters, and Jesus as proportioned to his mother. This Jesus is larger than how he's normally depicted, but his childlike actions of grasping his mother's finger establishes an air of both adolescence and innocence. The emphasis of the painting is obviously the baby Jesus, as the Virgin Mary's head is turned towards him. The white rose is often regarded as a symbol for the Virgin's purity. It's this purity coupled with Jesus's innocence and adolescence that helps the audience to adore the Son of God in a way that differs from other Madonna and Child pieces of the period.
This piece is Sir Peter Rubens' depiction of the biblical hero Daniel and his escape from the Lion's Den. In the piece, Daniel praises God for delivering him from a night in the Lion's Den after Persian King Darius sent him there for worshipping God. This piece builds off of the depiction of the theatrical expression of David and the menacing plethora of lions in order to set up the levity of God's miracle. Rubens first established the danger that Daniel faced in the way the lions are moving, and by the way they are crowded in the small confines of the cave. He then uses spacial perspective coupled with the lion's gaze in order to give the illusion that the audience is with David and faces the same threat. Finally, using light as an emphasis, Rubens' fixes your attention to Daniel's exclamation of relief. Daniels expression embodies Ruben's overall ploy, in that God is deserving of the same adoration Daniel showed when God saved him from the Lion's Den.
This piece depicts the resurrection of Christ from the dead. It shows a levitating Jesus holding a golden cross, hovering above soldiers with angels in awe of the scene. The artist deploys usage of movement in order to characterize the soldiers as enemies of heaven. They cower away at the sight of Jesus and his angels, and the soldier on the right even draws his sword in defense. The perspective also adds to the emotion of the piece. The audience is in the same spacial perspective as the solders and not the angels who are hovering with faces of adoration. This perspective helps to understand what the soldiers, and quite possibly an actual viewer of the piece might've saw in this situation. The unity of the angels at the sight of Jesus also adds to the level of adoration already established.
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