No crime or sin goes unpunished

This gallery depicts punishments for various crimes and sins in paintings. Every subject is paying for wrong doings in some sort of way.

Tarred and feathered, Sidney Nolan, 1945, From the collection of: Canberra Museum and Gallery
The focal point of this painting is a man being tarred, feathered and driven out of town as a form of punishment for his crimes. The reason behind this cruel act was to humiliate them publicly and cause discomfort. The artist uses complementary colors with light and dark values. He also creates a illusion of depth by showing a character in the far distance holding a shotgun. Another character in front of the subject is holding a shotgun and a rope leading him out of the composition, which creates movement.
The Fall of the Rebel Angels, Luca Giordano, 1660/1665, From the collection of: Kunsthistorisches Museum Wien
This is a oil painting representation of the archangel, Michael sending the angels who have sinned to Hell. The composition is very congested. The focal point is where Michael's feet meets the body of the other angels. He seems to be effortlessly forcing them down while they struggle which gives the piece movement and great balance. Red on the fallen angels chest depicts evil. The colors of painting contrast Hell and Heaven because the bottom of the the painting has dark values and the top has light values.
The Fall of Ixion, Cornelis Cornelisz. van Haarlem, circa 1588, From the collection of: Museum Boijmans Van Beuningen
About The Fall of Ixion is an oil painting of a screaming naked man, known as Ixion, tumbling in a canyon of fire. He was punished for attempting to sleep with Zues’s wife. For his arrogance he was doomed for eternity on a burning wheel.The background adds dark value to the painting. The position of his body shows movement, looks like he is falling out of control. The most emphasis was put into the subject, every detail is precise from the dimples in his body to the wrinkles on his feet and hands. Everything in the piece is proportioned well. If I flip the painting upside down no one could ever tell the difference.
St. Peter in Prison (The Apostle Peter Kneeling), Rembrandt van Rijn, 1631, From the collection of: The Israel Museum, Jerusalem
This is an oil painting on panel that shows the Apostle Peter on a prison cell in Jerusalem. He seems to be looking at a set of keys are next to him. The focal point of the painting is the subject. He is surrounded around about 75% negative space. The painting has dark hue value with light hue value around the subject as if light was coming from a little hole. A rectangular prism is seen in the background representing the edge of a wall.
Deaths in custody, Trevor NICKOLLS |, 1990, From the collection of: National Gallery of Australia, Canberra
Scene inside Newgate Prison, Bristol, where the artist awaited transportation for forgery, 1812, oil painting by Francis Greenway., Francis Greenway, 1812, From the collection of: State Library of New South Wales
Francis Greenway spent time in Bristol’s Newgate Prison in 1812 for forgery and created this oil painting while incarcerated. It has very dull colors and a variety of elements of design. Every prisoner is balanced. Three of the prisoners are standing taller than the others and placed symmetrically throughout the painting. One in the middle of the composition, one on the left and one on the right. The background has bricks and bars shaped like rectangles and squares. Lines are everywhere in the background.
Saint John the Baptist in Prison Visited by Two Disciples, Giovanni di Paolo (Italian, about 1399–1482), 1455/60, From the collection of: The Art Institute of Chicago
“Saint John the Baptist in Prison Visited by Two Disciples” is a Tempera on panel, painted surface, that depicts the life of Saint John the Bapist, the Kingsman and prophet of Christ. He is imprisoned because he foretells Christ’s role as redeemer. The painting has many forms and shapes such as, Cylinders, squares, and rectangles. The buildings are 3 dimensional and create the illusion of depth. The colors have light hue value.
Claudio and Isabella, William Holman Hunt, 1850, From the collection of: Tate Britain
This paintings is a depiction of Shakespeare’s characters from Measure for Measure. Claudio is leaning against the wall of a cell, shackeled and has been sentenced to death. The only way he can be saved is if his sister, on the right, sacrifices her virginity to the deputy. The subjects are standing in front of a window. While the light shines on the sister’s face, Claudio’s back is turned towards the window, giving him a darker look. The artist puts emphasis on the subjects facial expression. You can see the anger in Cladio’s face and the innocence in his sister face. A tree and the sky can be seen through the window and are the lightest colors on the canvas. Horizontal and vertical lines are found on the wall behind the subjects.
Flogging, Kim Jun-geun, 1850/1950, From the collection of: Korea Data Agency
Spanish Inquisition, Thomas Rowlandson, undated, From the collection of: Yale Center for British Art
This drawing depicts the accused in the Spanish Inquisition. All the prisoners are shackled, which creates unity in the painting. The colors of the painting have light values. The focal point is the group of men in the middle ground of the piece. Lines are showed in the bars on the windows, the corners of the room, and on the benches the prisoners are seated on. The room has a 3 dimensional space .
The Punishment of the Forger, Paolo Caliari detto Veronese, c. 1555, From the collection of: Doge's Palace
“The punishment of the forger” is a oil painting with light color value It shows a women standing over a man as if she is stepping on him. The man hangs off the edge of the cliff with his torso and arms positioned awkwardly like he is in pain. In his hands is a piece of jewelry. Seems like the artist put emphasis on the women’s bare chest, which leads me to believe the jewelry belongs to her and she is trying to recover it. The foreground is a cliff, the background is the sky with clouds. That gives a different perspective as if we were below them looking upwards. The subjects were proportioned well, even with the man in a difficult position.
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