Transcendental Point of View - (Pedro Pablo Melo Marte)

This gallery centers around the divine representation through paintings, sculptures, and other mediums of the historical character of Jesus Christ. His short lived ministry and ideological legacy that impacted the arts through his ever expanding followers up to this day. Taking into account primarily spacial awareness as well as unity of composition. Dynamics in shapes are also factored in this gallery.

In this piece we can see Jesus, Peter and other fishermen immediately after their first encounter and in the act of miracle fish catching. Peter and the others look astonished, with grateful gestures, and making the most out of the situation while Jesus sits, framing with a promising left hand to Peter. Making him His first Disciple. The spatial dynamism of the fishermen. The distinct lines juxtaposed with the solemnity of the background sea and hills. The grey birds, closest to the viewer, their reflections and the depth created by all this elements combined highlight the wonderful aspects of this renaissance era of iconography.
In this oil on canvas we an see the the body of Jesus is gently displaced by John and Mary, the mother of Christ, as she looks upward to the heavens. Mary Magdalene and Mary, mother of Joseph and James the Younger look down in lament. The unified dramatic baroque style of this piece exemplified by the use of contrast and vibrant colors create a grandiose narrative development that only an exuberant piece of this style could possibly deliver so poignantly.
In this medieval sculpture shaped as Christ and the twelve apostles we can see how they share the famous last supper. As they eat their bread and drink wine we are left with a meticulous and distinct difference in coloring and arranged position with each subject. Pulling our gaze towards the center and then proceeding to see the sculpture in multiple physical angles. Spatial oneness in a multiplicity of subjects.
In this piece we can see the archangel Gabriel kneeled in a position of importance towards Mary, who is seated almost frontally as she receives the news of her divine pregnancy. This tempera of wood uses a clear vanishing point technique to create the depth of field in this florentine scenery.
in this piece we can see the emblematic event of one of Jesus post mortem appearances to his Disciples and most notable his encounter with Thomas, the Apostle. Thomas had to see to believe. In this Baroque piece we can determine the order of importance of a subject with how much clarity was used. A perfect example of a typical "Chiaroscuro" that gave depth and tone to this symbolic moment.
In this painting we can see as Christ leans forward and John the Baptist pours water in his head, surrounded by devoted angelic childlike figures. A dove represents the Holy Spirit appearing due to the event, central piece directly associated with Jesus Christ. This oil on canvas uses pastel colors and an stylized human figure as the focal elements of composition. Giving emphasis to symmetrical proportions and movement. Emphasis is also given due to the internal context with the divine represented with the white dove and the light casted from above, connecting upwardly the earthly figures by association.
This medieval altar piece shows a pivotal point in the nativity of Jesus Christ. He is presented in the Jewish Temple by Mary and Joseph. This piece uses the vanishing point and column arches as reference of depths. This altar plays with the perspective the painting creates and the altar itself as a heightening desired quality. The human figures look stoic in the importance of the moment.
This oil on canvas painting is part of a four piece set that represents the writers of the Gospels. In this painting, John the Evangelist looks upward with youthful devotion to a casted light as he writes his gospel. This colorful palette and distinctive lifelike portrait transcends idealistic notions and focuses on veracity of lights and shadows. Metaphysical depth exemplified in the Manneristic qualities of this work of art.
This oil on canvas showcases an aged Simon the Apostle (Peter) with his back turned away from the light as he stands carrying a stick. This piece uses visual noise in the farthest parts of the painting to create a depths only contrasted by the delicate strokes of the subject's back. Giving it defined importance to what the subject divinely carried ideologically.
In this scene we can see the guards sleeping as three followers (Mary, Magdalene, and Salome) of Jesus Christ are encountered by an angelic presence and an empty tomb. This scenes uses depths through diagonal parallel lines receding the size of objects with the distance. Proportions are not as important as the texture and the narrative quality of this panel; vital to the message this piece carries.
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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