Religion in culture - james mastraccio

In this gallery we explore religious art and the contrast of color they have in human culture through several different mediums. Throughout history religion has defined man. You can see it portrayed in our culture through every medium, in every time period. Art is filled with religion and this gallery focuses on its abundant presence and the influence it has on our everyday lives.

View of the Castel Sant'Angelo and the Vatican seen from Prati di Castello, Gaspar van Wittel, 1690/1710, From the collection of: Musei Capitolini
This painting depicts one of the holiest Christian site and home to the leader of the Roman Catholic Church with a vivid reflection against the Fiume Tevere. This view of the Castel Sant'Angelo and the Vatican in the distance has a great religious presence while also capturing the natural beauty of the area. The detail and contrast of colors of the landscape and buildings between the blue sky and blue river keeps the attention of the viewer strictly on the landscape.
Crucifix with the Virgin and Saints Francis and Agatha, Bernardino Mei, Sixth decade of the XVIIth century, From the collection of: Fondazione Musei Senesi
In this painting we see Jesus being crucified with the Virgin Mary and Saint Francis by his side. This image has a very strong religious message behind it depicting the sacrifice of Jesus, God's only son, for our sins. The use of color in this painting is astonishing. The contrasts between light and dark colors are all around.
The Sermon of Saint John the Baptist, Giovanni Stefano Doneda, known as Montalto, 1660/1666, From the collection of: Fondazione Cariplo
In "The Sermon of Saint John the Baptist" you can see the Holy Spirit, represented by a dove, inspiring John the Baptist to preach to the people gathered around him. IN this image you can see the use of color bringing your attention to where the artist wants. The image is mostly dark except for the Holy Spirit, which is white, giving John divine inspiration. You can also notice that John and the cherub at the top right of the painting are the only ones wearing red giving them a more divine connection.
Doge Giovanni Bembo in front of Venice, Domenico Robusti detto Tintoretto, c. 1616, From the collection of: Doge's Palace
In "Doge Giovanni Bembo in front of Venice" you can see Giovanni Bembo receiving the title of doge. The doge was the highest elected official in Venice. You can also see that an angel is crowning Bembo, this was to represent that he had a divine right to rule which was a strong believe of rulers at the time. You can see that Giovanni and the angel are both yellow as too is the crown. This separates them from the rest of the painting giving them a connection and making them stand out from the rest of the painting.
Portrait of Pope Clement VIII (Ippolito Aldobrandini), Designed by Jacopo Ligozzi, produced in the Galleria de'Lavori in pietre dure, Executed by Romolo di Franceco Ferrucci del Tadda, 1600 - 1601, From the collection of: The J. Paul Getty Museum
Here we have a portrait of Pope Clement VIII against a black background. Color is used here to separate Pope Clement from his background. The use of white, yellows, and gold is a great way to differentiate the pope from the black background. Bright colors against dark ones is the easiest and most efficient way.
Christ of the Stern Eye, Unknown, circa 1600, From the collection of: Museum of Russian Icons
In this piece we have a painting of Jesus Christ. The first thing I notice is the gold around him. This brings prestige to the image and makes it different from others like it. The shine the gold almost gives it a divine look. Then you look at Jesus himself and the artist did not give him anything special. He seems to be like a normal man, reflecting on his teachings on humility.
Christ of the Coin, Anton Van Dyck, circa 1625, From the collection of: Musei di Strada Nuova
In "Christ and the Coin" we have Jesus Christ talking to two men, one of them is holding a coin. We see a good use of color showing the divinity of Jesus in this painting. First, you can see the light behind his head, which has been used throughout history to represent divinity. Second, Jesus is much brighter and cleaner than the other two men, separating him from them.
The Interior of Saint Peter's, Rome, Italian 17th Century, first quarter 17th century, From the collection of: National Gallery of Art, Washington DC
In this drawing we can see the interior of Saint Peter's Basilica. This is a simplistic drawing of Saint Peter's not because is lacks detail but because it lacks color. The only colors we see are the colors on the closest wall facing us. Here it shows us the elegance of Italian Renaissance architecture more than the color of the actual building.
The Interior of Saint Peter's, Rome, Italian 17th Century, first quarter 17th century, From the collection of: National Gallery of Art, Washington DC
Here we have a drawing of the interior of Saint Peter's Basilica. The colors we see in this drawing are faint and give the piece a simplistic feel. The lack of colors almost makes this look like a blue print or a concept drawing before construction began of what it might look like.
Adoration of the Shepherds, Bernardo Strozzi, ca. 1615 (Baroque), From the collection of: The Walters Art Museum
In the "Adoration of the Shepherds" we have the shepherds that came on the night of Jesus's birth looking down upon him with the Virgin Mary in the center of the painting. We see color highlighting the two divine subjects of this painting, Jesus and the Virgin Mary. White separates them, the white light behind Mary's head and the white sheets around baby Jesus in the cradle.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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