Sophia Eloufir
Breviary, 1153, From the collection of: The J. Paul Getty Museum
This Dark Ages Illumination was made at the Monastery of Montecassino in Southern Italy. It is believed to have been created for the monk, Sigenulfus, private use rather than public.
Two Lions, Unknown, about 1270, From the collection of: The J. Paul Getty Museum
Animals were often used in medieval art since they reflected the Christian belief that creatures were created as symbols of the divine plan set in stone for man. Animals depicted were also mentioned to symbolize ideas or values a person a carries.
Saint Vincent the Martyr, Bernardo de Arás, 1455 - 1470, From the collection of: Museo de Huesca
This painting shows the patron saint of Huesca wearing the fashion of a Byzantine icon. Details like the generous amount of gold present in halos and the background as well as the facial expressions present were due to the artist's circle that he interacted with, who influenced his work.
The Unicorn in Captivity (from the Unicorn Tapestries), Unknown, 1495-1505, From the collection of: The Cloisters Museum and Gardens
This piece of art depicts a unicorn that was said to be pursued by a group of nobles, hunters, and hounds who chased it through the forest and brought it back to a castle. Here it is shown blood but alive, chained to a tree surrounded by a circular fence in field of flowers.
Death of the Virgin, Hans Holbein the Elder, ca. 1491, From the collection of: Museum of Fine Arts, Budapest
This work done by Hans Holbien, a famous painter in the rich merchant city of Ausburg, Germany, displays the death of Mary the Virgin in a contemporary home setting. Here she is shown wearing garments of a middle class woman and is surrounded by the Apostles, the chief disciples of Jesus Christ, on her deathbed.
The Pedlar, Jheronimus Bosch, circa 1500, From the collection of: Museum Boijmans Van Beuningen
This figure is said to be symbolic of a man on his path through life. His symbolism represents one who goes through life weighed down by the sufferings of his existence on earth.
Venus and Amor, Hans Baldung Grien, 1524/1525, From the collection of: Kröller-Müller Museum
In this painting done by Hans Baldung, Venus, the Roman goddess of love, beauty, and fertility, is seen with her son, Amor, by her side with a flaming arrow in his hand, as a symbol of burning love, and is blindfolded, sitting on a ball, which is meant to represent the truth. If he removes his blindfold, he would see the truth and discover that a love of god beats a love between people.
Mary Enthroned with the Child (Glatzer Madonna), Bohemian Master, around 1350, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
In these two paintings, the left one being from the Middle Ages, and the right from the Renaissance period, the image of Mary with Jesus is shown, although much differently. The Middle Age painting shows Mary and Jesus on a throne, and of more of a royal standing, while the Renaissance painting shows them in more contemporary clothing, similar to those worn by the middle class. On the right, the baby Jesus is also more noticeably nude and with much more expression, as is his mother. Also, rather than being surrounded by onlookers from all sides, the child and mother are enjoying each other's company alone in the countryside.
Madonna and Christ Child, Francesco di Cristofano Giudicis, called Franciabiagio, About 1523, From the collection of: Birmingham Museum of Art
The Lamentation, Masters of Dirc van Delf, about 1405–1410, From the collection of: The J. Paul Getty Museum
Both of these painting from different periods depict the mourning over the death of Jesus Christ. The right painting done during the Renaissance shows the Classical ideals present during the time. For example, Jesus's body is a representation of the ideal body for men while the depiction on the left shows him to be frail. Christ is also surrounded and held by more mourners on the right who show more emotion. The Middle Age painting lacks the more evolved realistic approach to drawing the features of people and the uses of shadows and perspective to create a three-dimensional image.
The Lamentation of Christ, Gaudenzio Ferrari, ca. 1533 (?), From the collection of: Museum of Fine Arts, Budapest
The Building of the Tower of Babel, First Master of the Bible historiale of Jean de Berry, Unknown, about 1390–1400, From the collection of: The J. Paul Getty Museum
The construction of the Tower of Babel as seen on the left is a single column while the Renaissance version is seen on a more grand scale and with a much more different architecture. The scene on the right is also of a more different and elaborate setting surrounded by the ocean, forests, and a city.
The Tower of Babel, Pieter Bruegel the Elder, 1563, From the collection of: Kunsthistorisches Museum Wien
Triptych: Crucifixion and other Scenes, Duccio, 1302 - 1308, From the collection of: Royal Collection Trust, UK
In both scenes, the event of the Crucifixion of Jesus Christ is shown. In both images, Saints Mary and John join him alongside, although the Renaissance depiction on the right has a much more elaborate detailing than its Middle Age counterpart. For example, there is an extending Italian countryside in the background with a troublesome looking sky above, in response to Jesus's situation. The Middle Age image has a solid colored background of gold and the figures standing all around him are covered completely in stiff clothing and with minimal expressions.
Christ on the Cross with the Virgin, Saint John the Evangelist, and Saint Catherine of Siena in Adoration, Marco Pino, about 1570, From the collection of: The J. Paul Getty Museum
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
