The dark ages meet the renaissance

The painting illustrates the Archangel Gabriel on his knees with his right hand raised towards Mary in greetings in the Florentine palace garden in response to the archangel’s greeting.The height, width and depth of the painting all meet in Mary’s spot and with Mary’s body outlined by the house’s cornerstones and her head emphasized by the dark wall. Mary’s importance is signified in the painting. The background landscape depicts tress and mountains under a grey and foggy sky.
The symbolism of the Madonna is that of beauty and grace while incorporating a sense of pureness associated with her. The use of the candles in this particular Madonna show the light of Christ that is being brought into the world by Mary. She is giving birth to the light of the world, according to the Christian faith. The halos around her head and the head of Christ add to the feeling of holiness that the painting was intended to imply. The other figures appear to be angels overlooking the mother and child, as if guardians from heaven sent to watch over them like a shepherd watches over his sheep. There is no reason that this painting was named the Madonna of the Candelabra other than the fact of the presence of the glowing candles in the background.
The open and closed books symbolize the Old and New Testaments, and the lilies to the right symbolize Mary's purity. The apple in Christ's hands and mouth alludes to original sin and his future sacrifice. In this painting, the artist preserves the rich colors and detailed focus of his predecessors, the illuminated manuscript painters, while attempting to create a coherent spatial world. The river winds into the background, yet the townscape in the distance is rendered with as much clarity as the trim on the Virgin's drapery.
The sequence of forty-one brilliantly colored, full-page miniatures that Bening produced for the manuscript was designed to evoke an intense empathic response as the viewer contemplated Jesus' suffering.
It is more widely accepted that she is a servant girl; her rosy, tanned complexion along with her brown arms implies she worked outdoors. Leaning on a ledge, she stares directly out of the painting while fiddling with her necklace, either a gold chain or a cord, like that seen around the cuffs and along the seams of her loose chemise.
In the background, a city shrouded in mist extends along the horizon, perhaps serving as an allusion to the ancient city of Tyre as well as to contemporary Amsterdam. The dark thicket of trees to the right contrasts with the pink and blue regions of the sea and sky. Sunlight breaks through the clouds and reflects off the water, but the sky behind the trees is dark and foreboding.
Hare c. 1502In this painting by Albrecht Dürer, the painting is monochromatic but expresses marvelous complementing tones and great detail. The background is plain but has a texture to it which makes it much more interesting.
The setting of this painting is different, and the colors are bright. The painting looks like it's set in a forest. In the middle of the painting there is a massive fire with a cloud of smoke hovering above. In the foreground, Lot and his two children are portrayed fleeing from the destruction of Sodom and Gomorrah, which erupt in blinding explosions of fire in the background.
The colors of this painting are rich, and again we see that contrast of royal blue and red. Which, is thought to be influenced by French Renaissance painter Giovanni Bellini. This painting is set in heaven; there is no doubt in my mind because Dürer makes this very clear.
Albrecht Dürer has a recurring theme of child and mother in his paintings. This painting also shows the same blue we see in most of his other works. The strange thing about this painting is he almost always has an elaborate background. This painting does not, making it more of a transitional piece from medieval to renaissance. Because, even though the background is plain back, child and mother are very detailed
This painting is very consistent with Dürer’s love of the contrast of blue and red, only this time it’s the brightest of all the pieces we have seen today. This painting is undoubtedly a renaissance piece. This is due to the heavily detailed background and bright colors expressed in this painting.
The scene shows the Virgin with Christ and St. John the Baptist in a highly serene and tender moment against a landscape backdrop which places the scene in a Tuscan setting.
Surrounded by the vaguely classical frame of the throne, the Virgin appears regal and yet also tender and human in the gestures that bind her to the Child, in the flush of her cheeks, and in the babyish, gently converging faces of the angels
This painting represents the Virgin and Child in a domestic setting, intent on reading a volume, perhaps a Book of Hours. A window is open on the landscape at twilight, but the diffused light which transforms the space into a mystical setting seems to emanate from the figures themselves. The various fruits in the bowl have a symbolic meaning, the cherries allude to the blood of Christ, the plums to the love between Mother and Child, the figs to the Salvation or the Resurrection
Mary's cascade of gently flowing hair shows Schongauer's sensitivity to the expressive potential of line. His attention to detail is especially evident in the thin gold seams in Mary's cloak, the jeweled crown, and the figures' fine facial features. In the background, an angel holds the crown and scepter.
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