Religion in the Renaissan

In Madonna and Child, by Giotto c. 1320-1330, there are many original techniques used during the Renaissance era. Such techniques seen in this painting are emotion on both Mary and the Baby's faces , perception of realistic proportions and depth, and light and shadowing. Giotto loved the drama of art, and used this in all of his works so they become even more powerful, which broke away from the traditional Byzantium painting style. Also, Giotto not only used his keen sense of perspective, but his inherent genius and clarity of conception to give life and strength to his paintings. Giotto was hired to decorate many Churches and Chapels around Italy, so he was very skilled at painting Christ and event in His life. This painting shows the Blessed Virgin holding her Holy Son as He gives her an olive branch twig This painting is now hanging in the National Gallery of Art , Washington DC. \

Tintoretto's Mary with the Child, c. 1570, has a very unique effect that mirrors both Medieval and Renaissance paintings. Like Medieval paintings, the more important figure is placed in the highest position and is larger than life, just as Mary and her Child are in this painting. However, the style of this painting has more detail and perception as Renaissance paintings have, and there is much action happening in the painting that defies Medieval painting techniques. For a brief period early in his painting career, Tintoretto studied under Titian. Tintoretto was known for having a temper and was unpopular among Venetian artists, which contradicts with his graceful painting style. Mary with the Child is now residing in Gemaldeqaleria, Staatliche Museen zu Berlin.

The Baptism of Christ, 1585, is one of Tintoretto's finest works. His usage of expression, action, and landscape in the background illuminate the brilliant Renaissance techniques skilled painters used at this time period. One of Tintoretto's best techniques was making his paintings come alive, which is easily seen here. The Baptism of Christ can now be seen in the Musei Capitolini.

The Raising of Lazarus, 1310-11, has much in common with the Byzantium style of painting. The Raising of Lazarus is actually a part of the Maesta, a much larger painting used in the Siena Cathedral for the alter. The Maesta means Majesty, and it is not to see why just by this glimpse, which was broken off from the Maesta in 1771. Duccio di Buoninsegna prized himself in adding lyrical and majestic tones into his perception of narrative scenes. The Raising of Lazarus is now at home in the Kimbell Art Museum.

This beautiful painting by Giovanni Bellini, c. 1500, really captures the true value of Renaissance artwork. Christ Blessing showcases incredible realism, depth, connection between Christ and the landscape behind Him, acknowledgment of light and shadowing, and real emotion on Jesus' face. Bellini is known as the "father of the Venetian Renaissance" for such techniques he skillfully applies to all his paintings. Bellini was also a devout Christian and used his faith to influence his paintings, such as this painting. Christ Blessing is now haning in the Kimbell Art Museum.

The Supper at Emmaus by Jacopo Tintoretto, 1542-1543, is very unique, especially for Tintoretto's normal painting style. In this painting, its composition is more balanced than in his later paintings (especially those of the Last Supper) and the figures are quite large and seem to be alive. Tintoretto began as a painter studying from Titian as a student, and was also influenced greatly by Parmigianino and Michelangelo later in his career. This painting is extremely interesting because of what is taking place within the scene; Jesus and two of his disciples were going to Emmaus and a family invited them in, and you can see in this painting how that family just wanted to please Christ and his followers and how at peace Jesus is just to be there. This painting is now in Szepmuveszeti Muzeum Budapest

Tintoretto's Christ Washing the **** of the Disciples is one of his most powerful works of art. The coloring is much darker, especially in the background, but it exaggerates the impending misery Christ is about to go through, almost like artistic foreshadowing. And the halo around Christ's head highlights the dark and emphasizing the holiness of the Savior and his humbleness as he washes his followers ****. Tintoretto painted this for the Chapel of the Sacrament in the Venetian Church of S. Trovaso combined with the Last Supper, but is now residing in The National Gallery, London.

Yet another beautiful painting by Tintoretto, the Crowning with Thorns, c. 1592, is strikingly majestic even for the awfulness that is occurring withing the scene. Along with the rest of Tintoretto's profound Renaissance style, with life-like emotion and clarity and depth, he made this picture so that it seems that the people are falling over before Jesus himself, rather than the man with the sword. His perspective of this is so beautiful even in such an awful time for Christ. One can now see Crowning with Thorns in the Musei Capitlini

The Flagellation, 1587-1592, is very similar to Tintoretto's Crowning of Thorns. Both of these paintings depict Christ suffering and about to be crucified, but still, he has made it beautiful. In The Flagellation, you can see Jesus twisted in a way that makes it look like he's in pain, but when you look at his face, he looks almost at peace, perhaps because He knows what is about to happen to Him and He knows it is what is meant to happen, in the way Tinotretto depicted His emotion at this time. The Flagellation is also hanging in the Musei Capitolini.

Ecce Homo, Caravaggio c. 1605, is one of the most powerful paintings in this gallery. Ecce **** means "Behold the man", which is what Pilate said when he showed Jesus to the crowd of the Jews who condemned him to die after he was whipped and crowned with thorns. Jesus looks very quiet and almost resigned in this painting, and it seems like he is feeling something more than physical pain. Caravaggio's style in this painting has much Renaissance technique that can especially be seen in the emotion and body language of all the people in the scene. There's some speculation that Caravaggio used his own face to model Pilate's, who is the older man with the salt-and-pepper beard. For the first period in Caravaggio's painting career when he was in Rome, he painted many things, along with fortune telling and other such themes. However, he started painting religious scenes and portraits after he completed the Calling of St. Matthew and the Martydrom of St. Matthew. Ecce Homo can now be found showcased in the Musei de Strada Nuova.

Imago Pietatis, 1460-1469, is a painting of Christ when he is dead in the Sepulchre. Bellini was quite famous for his many religious depictions of Christ's life and sufferings, and this painting is quite profound. Jesus is completely pale, with his head bowed and hands crossed for burial, yet he is standing over his tomb, showing how Christ conquers death. Bellini's style is what makes this painting, along with the subject matter, so unique. Jesus really stands out in front of the landscape behind him, which is a technique Bellini used to draw more attention to the state of Jesus, but also makes your eyes wander to the back ground and wonder, "what's he doing there?" Then you realize He's standing over His tomb, but the curious thing is that He is still dead. Bellini created all his paintings with a more coloristic and sensuous style, which is said to have revolutionized Venetian painting. Imago Pietatis is now hanging in the Museo Poldi Pessoli.

The Entombment of Mary, Giotto di Bondone 1310, is unlike any other painting. It is still dripping with beautiful Renaissance style, along with a mix of Medieval flair, its powerful meaning is what makes it so captivating. This painting is of Mary's death, how she is carefully being placed in her tomb with saints, friends and followers surround her body and bless her. The most astounding this is that above her body is Jesus cradling her as a baby, just as she had done to him. This brings upon the idea that when one dies, they enter heaven as any form of themselves during the duration of their lives, and the fact that Mary is a child in Jesus' arms shows the love he had for her and how he wants to take care of her in His home as she did for Him in hers. Giotto was known to be the first genium of the Italian Renaissance for his magnificent artwork, and gave life to his religious paintings. The Entombment of Mary is now residing in Germaldeqalerie, Staatliche Museen zu Berlin. The video below is of The Entombment of Mary.