Movement in Religious art

Religious works of art reveal various artists' depictions of death and heaven through implied expressions of movement.

In this religious painting, Christ’s twisted body and raised hand expresses movement, complimenting the positioning of the venders and spectators in the background. This piece moves on its own through the carefully thought out placement of objects, which illustrates a passage in time. The viewer’s eyes are pulled throughout the displayed piece. The implied movement expressed through Christ’s brightly painted clothing and twisted frame, demands the attention of the viewers.
Like a photo, we are given a small flash of information in this piece. It is through positioning that we are able to see the different subjects in their various displayed actions. The actions expressed in the painting imply a direction of movement, a forward progression in completing the action of John baptizing believers.
A slightly illuminated Adulteress alongside Christ in a kneeling position, surrounded with darkly shaded onlookers depicts a forward progression of events that soon will come. Through the dynamic expressions of movement created by the artist’s proper use of object placement and shadowing, viewer’s eyes smoothly flow between the presented elements, creating the illusion that a scene is unfolding in real time.
With the proper use of space, shadowing, and body positioning, this piece can be seen as static expression of movement. Viewers eyes jump from one element to the other creating the illusion of time or events shifting. Viewers believe they are onlookers, watching Tobias and the Archangel meeting for the first time.
Speed and power are expressed in this piece through the use of shadowing and body positioning. The forward progression of the Divine Eros, ready to strike, implies movement with its exaggerated striking pose. The viewer is forced to imagine the strike occurring in real time.
An old man, Saint Francis, kneeling on a walking stick in bleak clothing, looking to the heavens in a gesture of devotion, depicts the concept of linear time. With the sky open to the viewers, the artist’s spiritual vision and earthly views blend together creating the understanding of what is occurring and what is to come. As Saint Francis looks to the heavens, viewers see an elderly man looking ahead into his own future.
This dynamic and circular expression piece depicts the virgin Mary ascending to the heavens as she is surrounded by angels. As the viewer’s eyes flow from one element of the painting to the other, there is a powerful expression of cyclical time, as if the image is expressing a continuous and infinite outcome for the virgin Mary and the angels.
A mother and baby surrounded by onlookers is a scene we all know too well. This flashing event comes to life, a transcending moment that cannot be frozen in time but instead is guided through gestural and directional objects. The placement of objects contributes to the implied manner of movements in this piece, creating a sense of real time.
Through Christ’s leaning body and extending arms, combined with Saint John’s slightly twisted profile expresses a symbolic metaphor that enhances the illusion of determination that there is an underling goal that can be seen. A single frame expresses linear movements, and that there is an obvious understanding that time is moving forward.
As Saint Francis rises to God’s divine light, beneath him holds proof of his healing powers. With Saint Francis’ outstretched arms beside the body positioning of the miraculously healed men and women beneath him, viewers witness a linear expression of movement. We are presented Saint Francis’ past, present, and future.
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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