Student Writing Examples
The following student writing examples are from earlier Art History and Design to assist you as examples of thorough research papers that stay on target of completing a particular assignment...
Let's look at the formal elements and principles of design operating in this particular work of art. Analyses each of the elements and principles to thus explain their function / how they operate in the overall composition...
ELEMENTS & PRINCIPLES OF DESIGN
tease out the formal elements and principles of design attributed to the above work in your notes to form your written analysis. The emphasis of your notes (and therefore, your essay) is to explain how each element/principle is functioning in the visual works in contrast to other elements/principles.
LINE
COLOR
TEXTURE
SHAPE
VOLUME
SPACE
BALANCE & UNITY
VALUE
TECHNIQUE = mosaic (explain) RHYTHM / REPETITION
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student writing examples
Professor J. Pepper
Art History ll >> FA112.02
April 5, 2017
Deconstructive Analysis Essay #2 of 3
Analysis of : Michelangelo, Pietà , marble 1498-1499
Michelangelo Buonarroti, born March 6, 1475 in Italy and died February 18, 1564, created a marble sculpture and according to Kleiner in Gardener’s Art through the Ages, was built in Saint Peter’s Church, Vatican City, Rome in 1498-1500 which stands 5’ 8.5” high called the Pietà . The term Pietà refers to the subject of Christ in the lap of his mother, the Virgin Mary, after he has been crucified and removed from the cross according to "La Pietà by Michelangelo: Sculpture Analysis & Overview - Video & Lesson Transcript”. French Cardinal Jean de Bilheres Lagraulas commissioned Michelangelo in his early 20s to create "the most beautiful work of marble in Rome, one that no living artist could better” stated in 15 things you should know about Michelangelo’s Pietà .
This representation of Mary cradling Christ’s corpse captures the sadness and beauty of the young Virgin by using elements such as line, volume and mass shapes and textures throughout the sculpture. Since its creation, Michelangelo's Pietà has inspired emotion and faith of Christianity through its elegant depiction of the Virgin Mary and Jesus Christ.
This three dimensional mass of marble known as the Pietà was carved from a single slab of stone and according to 15 things you should know about Michelangelo’s Pietà , he used Carrara marble, a white stone named for the Italian region where it is mined. Michelangelo used the balance of Renaissance ideals of humanism with classical Greco-Roman standards of beauty with poses that favored naturalism making his work unique and beautiful. According to Pepper, Jen “Humanism began in the 14th c. and became amplified in the 15th century emphasizing ideals of: education and expanding knowledge (especially classical antiquity), the exploration of the in-dividual potential, moral duty and commitment to civic responsibility, and the desire to excel in all things.”
Another Renaissance influence is a structure that ultimately resembles the implied shape of a pyramid or triangle, in this sculpture this shape is formed by Mary's head, flowing down her arms and to the bottoms of her robes. The overall shape of the Pietà forms a symmetrical triangular mass and draws and draws the eye to Mary's face. Mary's head is at the top point of the triangle, and Jesus' feet form one of the other points of the triangle. The third point of the triangle is a pedestal on which Mary props one of her feet. Within the triangular shapes, Michelangelo uses other shapes for unity and interest according to Terry, Rachel, also “Mary's face is an oval, and the position of Jesus' body makes a less severe, obtuse triangle, inverted inside the main triangle.”
The use of shape in this sculpture is also unique because of how out of proportion the two bodies are to each other. Mary's head which is the top of the triangle shape that Michelangelo used, is small before the sculpture expands out to Mary's wide legs, which are covered in a large amount of implied material. Her head is out of proportion to the rest of her body maybe an attempt to create a different scale since Mary is the furthest away in the sculpture and her head is at the highest point of the sculpture while looking down making it a different angle. Mary has a small, delicate face with pretty features, the features of a beautiful young lady rather than the mother of a fully grown man, symbolizing purity and maybe longevity. According to Pietà by Michelangelo – Facts & History of the Artwork, “The characters also appear to be out of propor-tion because of the challenges in depicting a man’s body being cradled in a woman’s lap. With Mary’s monumental drapery, much of her body is hidden, and the evident relationship between these two characters seemed natural.”
Although the Pietà is made of marble, which is very hard and smooth, this sculpture appears to have a ton of both implied and actual texture. Michelangelo created Jesus with lifelike wavy hair and the folds in Mary's dress and veil, the piece gives the idea of having varied texture without it actually being textured making it implied texture. Even the skin of Mary and Jesus appear to have texture in all the right places. For example, Jesus' hand that hangs down below Mary's knee has fine lines on it creating veins and making the knuckles and fingers more realistic. In this sculpture, Jesus wasn't portrayed like other artists had in the past with wounds and suffering, instead Michelangelo sculpted him calm, and with hardly any wounds, his facial expression is almost like he's sleeping and not a victim of execution.
The mood of this piece also makes the sculpture more realistic, and definitely speaks to the artist’s interest in humanism, by how he used the lines to crate this composition that illustrates energy and life. The folds of Mary's clothing creates repetitive lines and shapes in many directions. Most of these lines are diagonal in one direction or another. Jesus' body has many fewer distinct lines, which emphasizes his lifelessness. This line that Mary creates from looking in the direction of Jesus’ body subtly gives the viewer the message that they are connected in some way.
Michelangelo construct his piece with diagonal lines, which usually represents fast movement and action, uses it anyway to create a strong composition and although the two figures in the scene are as still as can be, these diagonal lines give the Pietà an intriguing and lifelike aura stated by Terry, Rachel.
A sculpture from the 15th century that I refer back to when looking at the Pietà is Donatello, Saint Mark marble sculpture created in Florence, Italy. Along with the Pietà having tons of emotion and natural body gestures, Donatello’s sculpture also has emotion and natural form to the body. These are both subtractive artworks that are freestanding with implied texture throughout the piece. Both of these works of art are sculpted in poses that were thought out, Saint Mark standing in a contropasto pose, focusing on the movement of the body, while the Pietà focused on how the bodies are both working together within he sculpture stretching the size and shapes by the ice of angles of both bodies. The implied textures that I think about within both of these
works of art are the garments and the hair. These both have tons of details making them look re-alistic and creating texture on a smooth surface. The last thing when comparing these two sculp-tures is the fact that they were both damaged, moved and had to be reconstructed. These are both amazing sculptures that refer back to Christianity and are very moving pieces.
Although there are many reasons that the Pietà is so famous, the most obvious is the pure skill of Michelangelo with marble. The fabric, the skin, and the hair each has its own texture, and creates a stunningly beautiful masterpiece. The way he changed the size and scale of both figures to make them look natural when in reality if he kept the correct scale there was no way the figures wouldn't look with have Jesus on Mary’s lap. Overall Michelangelo created a magnificent sculpture out of marble using the basic building blocks such as line, volume and mass shapes and textures throughout the sculpture.
Citations:
Kleiner, Fred S. Gardener's art through the ages. 14th ed. Vol. Ll. N.p.: Wadsworth, Engage Learning, 2014. Print.
"La Pietà by Michelangelo: Sculpture Analysis & Overview - Video & Lesson Transcript." Study.com. N.p., n.d. Web. 15 Mar. 2017.
Pepper, Jen. "Gardner's NOTES." Gardner's NOTES. N.p., 01 Jan. 1970. Web. 19 Feb. 2017.
"Pietà by Michelangelo – Facts & History of the Artwork." Totally History Piet Comments. N.p., n.d. Web. 15 Mar. 2017.
Terry, Rachel. "The Elements of Design Used in Michelangelo's Pietà ." EHow. Leaf Group, 04 June 2011. Web. 15 Mar. 2017.
"15 Things You Should Know About Michelangelo's Pietà ." Mental Floss. N.p., 11 May 2015. Web. 15 Mar. 2017.
Donatello, Saint Mark
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Deconstructive Analysis #2 of 3 essays
The Pieta is a sculpture done circa 1498 by the famous Italian Renaissance sculptor and painter Michelangelo Buonarroti (1475-1564). He was an apprentice to the famous sculptor Donatello before studying in the sculpture gardens of the Medici family. He is one of the most well-known artists from the high Renaissance and many people even call him the “Renaissance man.” Michelangelo created this sculpture for Saint Peter’s Church in Vatican City, Rome. The Pieta is about 5’8’’ tall and was carved out of one, large block of Carrara marble. The sculpture was commissioned for the French Cardinal Jean de Bilheres. Overall, the Pieta is a balance of all Renaissance ideals of classic beauty and naturalism.
This sculpture is considered to be one of Michelangelo’s greatest works and is very popular. The sculpture depicts the Virgin Mary holding the dead body of Christ after his crucifixion and removal from the cross. The two figures appear as if they are carved in a unified composition which forms the shape of a triangle. Although their heads appear to be the same size, Mary’s body is much larger than Christ’s body. If she was to stand up, she would likely tower over Christ. By the look on Mary’s face, it appears she is devastated and filled with grief, but also as if she is holding Christ’s body with acceptance. Overall, both figures appear to be in peace and beautiful, regardless of their suffering. This imitates Renaissance beliefs because one of the Renaissance principles was that the beauty on earth reflected God’s beauty. The Virgin Mary and Christ are both echoing the beauty of the divine.
Lines, whether they are actual or implied, are one of the main elements that make up artwork. Lines help guide the viewer’s eyes throughout the painting, sculpture or any piece of artwork. In the Pieta, many of the lines are actual. For example, the lines that are going around the base of the pedestal bring your eyes around the sculpture. The drapery that Mary is wearing also contains many actual lines and shadows. The lines give the drapery organic fluidity, while the shadows give the allusion of depth due to the deeper carving. Some other very important lines appear on the body of Christ. Michelangelo used lines to show the muscles and even the veins in Christ’s hands and feet. When you look at his legs and abdomen, there are very defined contour lines that show the beauty of Christ’s body. Although many of the lines are actual, you can see an implied line coming from the top of Mary’s head. She is looking down at Christ’s body in her lap. This guides the viewer’s eyes down the sculpture to the body of Christ.
Throughout the sculpture, you can find many triangles. For example, from the top of Mary’s head to Christ’s head and then to Christ’s legs appears to be triangular. Triangles are also found repetitive throughout Mary’s drapery and Christ’s legs form ninety degree angles, like a right triangle. All these triangles found in the sculpture are symbolic of the Holy Trinity. The Holy Trinity is the idea that God is three divine entities, the Father, the Son (Jesus Christ) and the Holy Spirit.
This sculpture is subtractive because Michelangelo carved the figures out of a block of marble with chisels. Marble is a very hard, cold texture but Michelangelo was able to make this sculpture appear very life-like and warm. Due to the fact the marble is a very smooth stone, the sculpture is almost entirely smooth besides the grooves for depth and details such as Christ’s hair. Michelangelo also payed very close attention to the details on Christ’s body. Both his and Mary’s skin is very smooth, but if you were to run your hand down Christ’s abdomen, the texture would be rougher, showing his muscles. The whole sculpture has an amazing amount of details. On the fingers of both Mary and Christ, the knuckles are very defined and you can even see their finger nails. Also, the texture of Mary’s drapery is very rough from all the creases and folds. As I mentioned before, all the folds in Mary’s drapery give it depth and volume.
Volume is the amount of space that an object occupies, where mass is the impression that the volume is solid and occupies space. Many works of art are three-dimensional to express ideas and emotions, just like Michelangelo’s sculpture the Pieta. The lines throughout this sculpture help give the illusion of weight. The drapery that Mary is wearing looks much heavier than the cloth on Christ’s body. All the creases and shadows give her drapery the illusion of mass. Also, the way Mary is holding Christ’s body with her hand makes him look like he has some weight and volume to him. This is also shown by Mary’s drapery because it seems as if her drapery goes down on her legs where Christ’s body is resting. If you look closely at the hand of Mary that is holding Christ’s body up, you can see the flesh by his armpit being pushed in. This shows the weight of Christ because the weight of his body is pushing onto Mary’s hand, causing his flesh to wrinkle. This is also another astonishing feature about this sculpture. Michelangelo was able to turn cold, hard marble into soft flesh that has the ability to be wrinkled and crumpled up.
One of the best sculptures to compare the Pieta by Michelangelo is the David by Donatello. Donatello (1386-1466) was and one of the greatest Italian sculptors before Michelangelo. The David was created in the 15th century, around the same time in which Michelangelo created the Pieta. It is approximately 5’2’’ tall and today, this sculpture is present at the Museo Nazionale del Bargello in Florence, Italy. The sculpture is depicting when David struck Goliath with a stone and then cut off his head with Goliath’s sword. He is standing in a contrapposto stance with nothing but boots on.
There are many differences that can be found between the Pieta and the David. One of the most prominent difference is the material that the sculptures were made out of. The Pieta was chiseled out of marble whereas the David is made out of bronze. The bronze was casted in a foundry, which is a workshop for casting metals. Since the bonze had to be casted, it is not as smooth as the marble in Michelangelo’s sculpture. The David is a hollow sculpture unlike the Pieta, which is a sold block of marble. There are a lot fewer details on the David than there are on the Pieta. For example, you cannot see the fingernails or veins like you can on the Pieta. The colors of these sculptures are also very different. The bronze has a much darker patina due to the medium whereas the marble is a light tan/white. Both are, however, monochromatic in color.
When looking at the David you can see that he is standing in a contrapposto pose. Contrapposto is when a figure is standing with one leg holding its full weight and the other leg relaxed. This makes the David an asymmetrical sculpture because of the way Donatello portrayed him. Due to the fact that the main shape of the Pieta is triangular, the sculpture has balance, harmony and symmetry. When comparing the facial features of both sculptures, they are quite different. Mary’s facial features show her grief due to the death of Christ but David looks very proud due the fact he has just killed Goliath. This is also shown by David’s contrapposto stance and the way his shoulders are almost back. Donatello also sculpted him holding a book, which shows that he is knowledgeable.
Another big difference between these two sculptures is that Christ and Mary in the Pieta are clothed, and David is completely nude. One of the reasons why the David is believed to be portrayed nude, is the fact that the Medici family heavily believed in humanism and naturalism. His nudity further implies the idea of the presence of God. In the Middle Ages, nudity was rarely used but in the Classical world nudity was commonly used with figures that were heroes or gods. Also, it seems as if Donatello is portraying his nudity in a heroic way because he depicted David at a triumphal point in the story of his battle with Goliath.
Michelangelo used many different techniques and used many details in the making of his sculpture the Pieta. Lines, texture, repetitive shapes, volume and mass are just a few that made this sculpture so great. The way Michelangelo used lines and different textures to create the Pieta is what makes this sculpture so popular and important. When comparing the Pieta to other sculptures, such as the David by Donatello, they don’t have as much detail or exactness as you see on Michelangelo’s sculpture.
Works Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 - 458
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student analytical essay example from FA112.02 Art History II
The Pieta was created by the late Renaissance artist, Michelangelo in the 15th century. Marble sculptures were Michelangelo’s specialty. He has amazing detail with his sculptures. This sculpture is 5’ 8 ½” tall and remains at Saint Peter’s, Vatican City, Rome. The Pieta is hand carved out of marble. If Michelangelo didn’t use any lines to in this sculpture it wouldn’t have any defined figures.
The use of different lines and implied line help tell the story that’s being told. He used lines to define the muscle definition and the body form. You can see the muscles on Jesus’ arm and abdomen. You can also see his ankle bone and the knuckles of his fingers and toes. Michelangelo even showed the veins in the hands, ankles, and feet. He also uses line for detail and the cloth flowing on the person holding the corpse of Jesus Christ. He also used line to show the hair that’s shown on Jesus’ face and head. The immense detail he added makes it almost realistic.
As you look at the sculpture your eye travels from Jesus, to the material under Jesus and how it flows, down to the base and back up to who Jesus is being held by. There’s somewhat of an implied triangular composition, going from Jesus’ head, to Mary’s head, down to Jesus’ feet. Having this composition, it makes you continue to look and analyze the artwork even more. Staring at the art longer you start to notice the little details that is on it. This sculpture is stable and is symbolic of the time of the Holy Trinity.
There’s detail everywhere on this sculpture. Michelangelo payed attention to the little details of the human body. He added the lines on the knuckles of each finger. He also made sure to add the nails and the color differences of the nails as well. The tip of Jesus’ right hand ring finger has the white tip to the nail that we normally have to ours. He also gave Jesus the grooves on his chest that is between his pectoral muscles. The whole sculpture has a smooth texture look to it. The way the cloth lays is repeated throughout the sculpture from Mary to Jesus. The smoothness of the skin is also repeated in the two figures.
There isn’t much color to this sculpture because it’s made from marble. It has a neutral, grey color throughout it. Also because of the medium he chose and how he sculpted it, it has a smooth glossy look to it. This sculpture is subtractive because he had to carve the figures out of the solid marble with chisels and mallets. He wasn’t able to cast marble, to make it an additive type of sculptural application as in a bronze sculpture. One medium that is additive is bronze, which Donatello used to make the sculpture David for the Medici family in the 15th century.
The David by Donatello, created in 1430–1440, that was made in the early 15th century, is considered to be additive because they had to cast the medium in order to make the figure. He was able to get detail with casting bronze. He didn’t get the little details that Michelangelo got from carving into marble. The casted bronze has a smoother less detailed look to it compared to the Pieta.
The differences of the Pieta and the David sculptures are the detail, the color and the different styles. The David has less detail, you can’t see fingernails or veins, whereas you could see fingernails and veins in the Pieta. The bronze has is darker patina overall because of the nature of the medium, which is almost a grey/green color to it. Compared to the marble, which is a lighter color, almost a white/tan. The Pieta is more conservative because of the preference of
the patron who commissioned Michelangelo to create it.
Whereas the David shows all of the body, nothing’s covered. This was because the Medici family who commissioned Donatello to make this were more naturalists. Another difference of the two sculptures are the heights. The David is only six inches shorter than the Pieta.
Michelangelo used many techniques when he made the Pieta, which made the sculpture an amazing artwork that we still marvel at today. The way he used lines to create something three dimensional out of a solid marble block is amazing. He had a great amount of detail from hair to nails and veins. With other sculptures, you don’t always see that, normally it’s focused on the muscle outline. He was also successful at making the smooth lines for the cloth that was on them. It takes a lot of skill and patience to make something so realistic, smooth, and detail oriented.
Pieta by Michelangelo
David by Donatello
Work Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 & 498.
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student analytical essay from FA112.02 Art History II
Pieta by Michelangelo
Buonarroti, Michelangelo. Pieta. Ca 1498-1500. Marble, 5’-8 1/2” high. Saint Peter’s Basilica, Vatican City, Rome.
This sculpture was created by the artist Michelangelo Buonarroti (1475-1564) from Tuscany. Although Michelangelo was known mostly as the painter of the famous Sistine Chapel ceiling, he was also talented in many other areas such as sculpture, architecture, literature and so on. One might even call him a Renaissance Man because he has talents in so many different areas. Also, many of his works follow the thoughts and beliefs of the famous philosopher, Plato.
Line (actual and implied): Throughout this piece there are countless lines. Line is the path of a point moving in a space or in a piece of art that helps move the viewer’s eye around the forms. Lines can be actual or they can be implied, both of which are present in this piece. Actual lines can be seen, for example, on the pedestal that these figures are sitting on. The pedestal’s rectangular structure has horizontal lines running around it, which suggests tranquility or peace, this can be seen in the statue with Mary quietly sharing a moment with her dead son. Most of the lines in Pieta are actual lines. Take for example, the clothing Mary is wearing, the cloth has many lines running through it to give it actual depth, where shadows fall deeply into the subtractive carved areas, it almost shows how large it is and how it hangs on her body. If one looks at the cloth covering Christ, they could tell that the fabric covering him is lighter in weight and thinner than that covering Mary due to the fact that the lines are etched much more lightly on his. Other important lines that can be seen are on the body of Christ. Michelangelo took the time to etch in each fine line and muscle on the body in order to make it look as life like as possible as so much of his emphasis was on the ‘body beautiful’ much like the early Greco-Roman Hellenistic sculptors. All of the lines in this sculpture give off a soft and natural feeling, none of them appear harsh except for the stone bench Mary is sitting on which is hard looking.
Volume and Mass: A piece that has mass and volume to it is intended to have a look of weight and form, it implies that something has three dimensions. This sculpture clearly has dimension to it, it can also be viewed from all sides. As mentioned earlier, line helps show the depth and the weight of this sculpture. Those lines that run throughout the clothing on Mary are deeply carved, it gives the illusion that her outfit has some weight to it. So, these elements are actually working together in this piece. Christ also appears as if he has some weight to him by the way his is draped onto Mary. The fabric on her lap almost sinks down, suggesting that a lot of his weight is shifted to his bottom and then onto her lap. Though it is hard to describe, the way that Christ’s body is positioned in Mary’s hand also suggests that he has some weight and volume. If one looks at the skin just above his armpit, his skin is being pushed up right above where Mary’s hand is holding him, this makes him look denser. Overall, this sculpture gives a very heavy feel when looking at it. Not to mention the implied heaviness or weight of the story behind the piece.
Repetitive Shapes: A shape can either be organic or geometric and is self-contained, it essentially defines an area. One could argue that this entire sculpture is made up of different shapes, which is certainly true. However, many of the same shapes are used over and over again. One of the most noticeable parts of this sculpture is Mary’s outfit. The entire cloth is composed of different size and shaped triangles that as supposed to come across as folds in the fabric, which it certainly does. Another repetitive shape is on the pedestal of the sculpture. Towards the top of it, there are many rings or circles, that go around it. This was intended to make it look more decorative but the inconsistent spacing of the rings and how deep the go towards the middle gives a feeling of depth. Also, a few other shapes that are repeated are those that are required to make the human body, such as the shapes in the face or the hands. Since there are two individuals in this piece they are used more.
Texture: The texture of something describes the surface quality of it. A texture can either be actual or implied. Since this is a piece made from marble from Carrara, Italy, that can be physically touched, and isn’t say, a painting of implied texture instead, the texture can actually be felt on this sculpture. Michelangelo created this texture (and shapes for that matter) by using a chisel and removing the marble from the form in a subtractive manner. Other than the peaks and grooves created by the lines of the cloth for example, the piece is relatively smooth. This can especially be seen of the skin of Mary and Christ. The lack of texture gives them a completely clear and perfect complexion. The marble itself is a relatively smooth substrate so the only place there would be texture is where the artist carved it in. Though it is tough to see, there is likely a rough texture to Christ’s hair with many lines, etched deeply and shallowly, to create the look of thick hair.
Comparison #1:
Saint Mark by Donatello
Di Niccolo Bardi, Donato. Saint Mark. Ca 1411-1413. Marble, 7’9” high. Or San Michele, Florence, Italy.
Though created by two different artists, the sculpture of Saint Mark is very similar to the Pieta by Michelangelo. They both share very similar techniques when it comes to carving and this is very apparent when you compare the robes on the figures. The way Donatello removed marble was very deep, similar to the cloth on Mary, the robe that Saint Mark is wearing appears to have some weight to it due to the depth of the lines carved. Another similarity can be seen
in the hands of Saint Mark and in Christ, they are very detailed and life like, the skin was created to look almost paper thin. The audience gets this impression because both of the hands have very prominent veins running through them. One of the main differences can be seen in the faces of the figures. Obviously, the face of Christ is rather lifeless because he had just been removed from the crucifix, and Mary’s face shows her sorrow and sadness while mourning the loss of her son. The face of Saint Mark says that he is proud and knowledgeable. His face is very clear and his shoulders are back. He also is carrying a book which also shows his knowledge. Another difference between the figures is their positioning. The figures in Pieta are loose and have a hanging feeling, while Saint Mark is in a contrapposto because one hip has more weight on it than the other.
Comparison #2:
Bound Slave by Michelangelo
Buonarroti, Michelangelo. Bound Slave (Rebellious Slave). Ca 1513-1516. Marble, 7’-5/8” high. Musee du Louvres, Paris.
The Bound Slave by Michelangelo is a sculpture that is very similar to that of Pieta. Both of the sculptures involve figures that are in some sort of distress. In the first, Mary is mourning the loss of her son, Christ and in this sculpture, a slave is rebellion from his master or owner. Michelangelo has made this apparent by the looks on the faces he creates. In terms of the use of the elements, Michelangelo keeps those very similar as well. He uses a large number of organic lines to create almost exactly accurate muscles and features on all of the figures. This sculpture also looks as if it has some weight to it because of the way the muscles have been carved into the leg. They are essentially advancing forward, which suggests that all of his weight on his legs. This sculpture is different because texture is uses more so in this sculpture than in Pieta. The rock which the slave is standing on looks much more like a real rock. It has lines etched through it to give it more texture. It looks much more real than the rock many is sitting on. Also, the pose the slave is in looks very unnatural. It looks like it is just a little farther beyond contrapposto, while the two figures in the other sculpture are more relaxed and loose.
Work Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 & 498.
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student essay example from FA112 Art History II
Professor J. Pepper
Art History ll >> FA112.02
April 5, 2017
Deconstructive Analysis Essay #2 of 3
Analysis of : Michelangelo, Pietà , marble 1498-1499
Michelangelo Buonarroti, born March 6, 1475 in Italy and died February 18, 1564, created a marble sculpture and according to Kleiner in Gardener’s Art through the Ages, was built in Saint Peter’s Church, Vatican City, Rome in 1498-1500 which stands 5’ 8.5” high called the Pietà . The term Pietà refers to the subject of Christ in the lap of his mother, the Virgin Mary, after he has been crucified and removed from the cross according to "La Pietà by Michelangelo: Sculpture Analysis & Overview - Video & Lesson Transcript”. French Cardinal Jean de Bilheres Lagraulas commissioned Michelangelo in his early 20s to create "the most beautiful work of marble in Rome, one that no living artist could better” stated in 15 things you should know about Michelangelo’s Pietà .
This representation of Mary cradling Christ’s corpse captures the sadness and beauty of the young Virgin by using elements such as line, volume and mass shapes and textures throughout the sculpture. Since its creation, Michelangelo's Pietà has inspired emotion and faith of Christianity through its elegant depiction of the Virgin Mary and Jesus Christ.
This three dimensional mass of marble known as the Pietà was carved from a single slab of stone and according to 15 things you should know about Michelangelo’s Pietà , he used Carrara marble, a white stone named for the Italian region where it is mined. Michelangelo used the balance of Renaissance ideals of humanism with classical Greco-Roman standards of beauty with poses that favored naturalism making his work unique and beautiful. According to Pepper, Jen “Humanism began in the 14th c. and became amplified in the 15th century emphasizing ideals of: education and expanding knowledge (especially classical antiquity), the exploration of the in-dividual potential, moral duty and commitment to civic responsibility, and the desire to excel in all things.”
Another Renaissance influence is a structure that ultimately resembles the implied shape of a pyramid or triangle, in this sculpture this shape is formed by Mary's head, flowing down her arms and to the bottoms of her robes. The overall shape of the Pietà forms a symmetrical triangular mass and draws and draws the eye to Mary's face. Mary's head is at the top point of the triangle, and Jesus' feet form one of the other points of the triangle. The third point of the triangle is a pedestal on which Mary props one of her feet. Within the triangular shapes, Michelangelo uses other shapes for unity and interest according to Terry, Rachel, also “Mary's face is an oval, and the position of Jesus' body makes a less severe, obtuse triangle, inverted inside the main triangle.”
The use of shape in this sculpture is also unique because of how out of proportion the two bodies are to each other. Mary's head which is the top of the triangle shape that Michelangelo used, is small before the sculpture expands out to Mary's wide legs, which are covered in a large amount of implied material. Her head is out of proportion to the rest of her body maybe an attempt to create a different scale since Mary is the furthest away in the sculpture and her head is at the highest point of the sculpture while looking down making it a different angle. Mary has a small, delicate face with pretty features, the features of a beautiful young lady rather than the mother of a fully grown man, symbolizing purity and maybe longevity. According to Pietà by Michelangelo – Facts & History of the Artwork, “The characters also appear to be out of propor-tion because of the challenges in depicting a man’s body being cradled in a woman’s lap. With Mary’s monumental drapery, much of her body is hidden, and the evident relationship between these two characters seemed natural.”
Although the Pietà is made of marble, which is very hard and smooth, this sculpture appears to have a ton of both implied and actual texture. Michelangelo created Jesus with lifelike wavy hair and the folds in Mary's dress and veil, the piece gives the idea of having varied texture without it actually being textured making it implied texture. Even the skin of Mary and Jesus appear to have texture in all the right places. For example, Jesus' hand that hangs down below Mary's knee has fine lines on it creating veins and making the knuckles and fingers more realistic. In this sculpture, Jesus wasn't portrayed like other artists had in the past with wounds and suffering, instead Michelangelo sculpted him calm, and with hardly any wounds, his facial expression is almost like he's sleeping and not a victim of execution.
The mood of this piece also makes the sculpture more realistic, and definitely speaks to the artist’s interest in humanism, by how he used the lines to crate this composition that illustrates energy and life. The folds of Mary's clothing creates repetitive lines and shapes in many directions. Most of these lines are diagonal in one direction or another. Jesus' body has many fewer distinct lines, which emphasizes his lifelessness. This line that Mary creates from looking in the direction of Jesus’ body subtly gives the viewer the message that they are connected in some way.
Michelangelo construct his piece with diagonal lines, which usually represents fast movement and action, uses it anyway to create a strong composition and although the two figures in the scene are as still as can be, these diagonal lines give the Pietà an intriguing and lifelike aura stated by Terry, Rachel.
Donatello, Saint Mark, 1411 - 1413
A sculpture from the 15th century that I refer back to when looking at the Pietà is Donatello, Saint Mark marble sculpture created in Florence, Italy. Along with the Pietà having tons of emotion and natural body gestures, Donatello’s sculpture also has emotion and natural form to the body. These are both subtractive artworks that are freestanding with implied texture throughout the piece. Both of these works of art are sculpted in poses that were thought out, Saint Mark standing in a contropasto pose, focusing on the movement of the body, while the Pietà focused on how the bodies are both working together within he sculpture stretching the size and shapes by the ice of angles of both bodies. The implied textures that I think about within both of these
works of art are the garments and the hair. These both have tons of details making them look re-alistic and creating texture on a smooth surface. The last thing when comparing these two sculp-tures is the fact that they were both damaged, moved and had to be reconstructed. These are both amazing sculptures that refer back to Christianity and are very moving pieces.
Although there are many reasons that the Pietà is so famous, the most obvious is the pure skill of Michelangelo with marble. The fabric, the skin, and the hair each has its own texture, and creates a stunningly beautiful masterpiece. The way he changed the size and scale of both figures to make them look natural when in reality if he kept the correct scale there was no way the figures wouldn't look with have Jesus on Mary’s lap. Overall Michelangelo created a magnificent sculpture out of marble using the basic building blocks such as line, volume and mass shapes and textures throughout the sculpture.
Citations:
Kleiner, Fred S. Gardener's art through the ages. 14th ed. Vol. Ll. N.p.: Wadsworth, Engage Learning, 2014. Print.
"La Pietà by Michelangelo: Sculpture Analysis & Overview - Video & Lesson Transcript." Study.com. N.p., n.d. Web. 15 Mar. 2017.
Pepper, Jen. "Gardner's NOTES." Gardner's NOTES. N.p., 01 Jan. 1970. Web. 19 Feb. 2017.
"Pietà by Michelangelo – Facts & History of the Artwork." Totally History Piet Comments. N.p., n.d. Web. 15 Mar. 2017.
Terry, Rachel. "The Elements of Design Used in Michelangelo's Pietà ." EHow. Leaf Group, 04 June 2011. Web. 15 Mar. 2017.
"15 Things You Should Know About Michelangelo's Pietà ." Mental Floss. N.p., 11 May 2015. Web. 15 Mar. 2017.
Donatello, Saint Mark
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Deconstructive Analysis #2 of 3 essays
The Pieta is a sculpture done circa 1498 by the famous Italian Renaissance sculptor and painter Michelangelo Buonarroti (1475-1564). He was an apprentice to the famous sculptor Donatello before studying in the sculpture gardens of the Medici family. He is one of the most well-known artists from the high Renaissance and many people even call him the “Renaissance man.” Michelangelo created this sculpture for Saint Peter’s Church in Vatican City, Rome. The Pieta is about 5’8’’ tall and was carved out of one, large block of Carrara marble. The sculpture was commissioned for the French Cardinal Jean de Bilheres. Overall, the Pieta is a balance of all Renaissance ideals of classic beauty and naturalism.
This sculpture is considered to be one of Michelangelo’s greatest works and is very popular. The sculpture depicts the Virgin Mary holding the dead body of Christ after his crucifixion and removal from the cross. The two figures appear as if they are carved in a unified composition which forms the shape of a triangle. Although their heads appear to be the same size, Mary’s body is much larger than Christ’s body. If she was to stand up, she would likely tower over Christ. By the look on Mary’s face, it appears she is devastated and filled with grief, but also as if she is holding Christ’s body with acceptance. Overall, both figures appear to be in peace and beautiful, regardless of their suffering. This imitates Renaissance beliefs because one of the Renaissance principles was that the beauty on earth reflected God’s beauty. The Virgin Mary and Christ are both echoing the beauty of the divine.
Lines, whether they are actual or implied, are one of the main elements that make up artwork. Lines help guide the viewer’s eyes throughout the painting, sculpture or any piece of artwork. In the Pieta, many of the lines are actual. For example, the lines that are going around the base of the pedestal bring your eyes around the sculpture. The drapery that Mary is wearing also contains many actual lines and shadows. The lines give the drapery organic fluidity, while the shadows give the allusion of depth due to the deeper carving. Some other very important lines appear on the body of Christ. Michelangelo used lines to show the muscles and even the veins in Christ’s hands and feet. When you look at his legs and abdomen, there are very defined contour lines that show the beauty of Christ’s body. Although many of the lines are actual, you can see an implied line coming from the top of Mary’s head. She is looking down at Christ’s body in her lap. This guides the viewer’s eyes down the sculpture to the body of Christ.
Throughout the sculpture, you can find many triangles. For example, from the top of Mary’s head to Christ’s head and then to Christ’s legs appears to be triangular. Triangles are also found repetitive throughout Mary’s drapery and Christ’s legs form ninety degree angles, like a right triangle. All these triangles found in the sculpture are symbolic of the Holy Trinity. The Holy Trinity is the idea that God is three divine entities, the Father, the Son (Jesus Christ) and the Holy Spirit.
This sculpture is subtractive because Michelangelo carved the figures out of a block of marble with chisels. Marble is a very hard, cold texture but Michelangelo was able to make this sculpture appear very life-like and warm. Due to the fact the marble is a very smooth stone, the sculpture is almost entirely smooth besides the grooves for depth and details such as Christ’s hair. Michelangelo also payed very close attention to the details on Christ’s body. Both his and Mary’s skin is very smooth, but if you were to run your hand down Christ’s abdomen, the texture would be rougher, showing his muscles. The whole sculpture has an amazing amount of details. On the fingers of both Mary and Christ, the knuckles are very defined and you can even see their finger nails. Also, the texture of Mary’s drapery is very rough from all the creases and folds. As I mentioned before, all the folds in Mary’s drapery give it depth and volume.
Volume is the amount of space that an object occupies, where mass is the impression that the volume is solid and occupies space. Many works of art are three-dimensional to express ideas and emotions, just like Michelangelo’s sculpture the Pieta. The lines throughout this sculpture help give the illusion of weight. The drapery that Mary is wearing looks much heavier than the cloth on Christ’s body. All the creases and shadows give her drapery the illusion of mass. Also, the way Mary is holding Christ’s body with her hand makes him look like he has some weight and volume to him. This is also shown by Mary’s drapery because it seems as if her drapery goes down on her legs where Christ’s body is resting. If you look closely at the hand of Mary that is holding Christ’s body up, you can see the flesh by his armpit being pushed in. This shows the weight of Christ because the weight of his body is pushing onto Mary’s hand, causing his flesh to wrinkle. This is also another astonishing feature about this sculpture. Michelangelo was able to turn cold, hard marble into soft flesh that has the ability to be wrinkled and crumpled up.
One of the best sculptures to compare the Pieta by Michelangelo is the David by Donatello. Donatello (1386-1466) was and one of the greatest Italian sculptors before Michelangelo. The David was created in the 15th century, around the same time in which Michelangelo created the Pieta. It is approximately 5’2’’ tall and today, this sculpture is present at the Museo Nazionale del Bargello in Florence, Italy. The sculpture is depicting when David struck Goliath with a stone and then cut off his head with Goliath’s sword. He is standing in a contrapposto stance with nothing but boots on.
There are many differences that can be found between the Pieta and the David. One of the most prominent difference is the material that the sculptures were made out of. The Pieta was chiseled out of marble whereas the David is made out of bronze. The bronze was casted in a foundry, which is a workshop for casting metals. Since the bonze had to be casted, it is not as smooth as the marble in Michelangelo’s sculpture. The David is a hollow sculpture unlike the Pieta, which is a sold block of marble. There are a lot fewer details on the David than there are on the Pieta. For example, you cannot see the fingernails or veins like you can on the Pieta. The colors of these sculptures are also very different. The bronze has a much darker patina due to the medium whereas the marble is a light tan/white. Both are, however, monochromatic in color.
When looking at the David you can see that he is standing in a contrapposto pose. Contrapposto is when a figure is standing with one leg holding its full weight and the other leg relaxed. This makes the David an asymmetrical sculpture because of the way Donatello portrayed him. Due to the fact that the main shape of the Pieta is triangular, the sculpture has balance, harmony and symmetry. When comparing the facial features of both sculptures, they are quite different. Mary’s facial features show her grief due to the death of Christ but David looks very proud due the fact he has just killed Goliath. This is also shown by David’s contrapposto stance and the way his shoulders are almost back. Donatello also sculpted him holding a book, which shows that he is knowledgeable.
Another big difference between these two sculptures is that Christ and Mary in the Pieta are clothed, and David is completely nude. One of the reasons why the David is believed to be portrayed nude, is the fact that the Medici family heavily believed in humanism and naturalism. His nudity further implies the idea of the presence of God. In the Middle Ages, nudity was rarely used but in the Classical world nudity was commonly used with figures that were heroes or gods. Also, it seems as if Donatello is portraying his nudity in a heroic way because he depicted David at a triumphal point in the story of his battle with Goliath.
Michelangelo used many different techniques and used many details in the making of his sculpture the Pieta. Lines, texture, repetitive shapes, volume and mass are just a few that made this sculpture so great. The way Michelangelo used lines and different textures to create the Pieta is what makes this sculpture so popular and important. When comparing the Pieta to other sculptures, such as the David by Donatello, they don’t have as much detail or exactness as you see on Michelangelo’s sculpture.
Works Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 - 458
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student analytical essay example from FA112.02 Art History II
The Pieta was created by the late Renaissance artist, Michelangelo in the 15th century. Marble sculptures were Michelangelo’s specialty. He has amazing detail with his sculptures. This sculpture is 5’ 8 ½” tall and remains at Saint Peter’s, Vatican City, Rome. The Pieta is hand carved out of marble. If Michelangelo didn’t use any lines to in this sculpture it wouldn’t have any defined figures.
The use of different lines and implied line help tell the story that’s being told. He used lines to define the muscle definition and the body form. You can see the muscles on Jesus’ arm and abdomen. You can also see his ankle bone and the knuckles of his fingers and toes. Michelangelo even showed the veins in the hands, ankles, and feet. He also uses line for detail and the cloth flowing on the person holding the corpse of Jesus Christ. He also used line to show the hair that’s shown on Jesus’ face and head. The immense detail he added makes it almost realistic.
As you look at the sculpture your eye travels from Jesus, to the material under Jesus and how it flows, down to the base and back up to who Jesus is being held by. There’s somewhat of an implied triangular composition, going from Jesus’ head, to Mary’s head, down to Jesus’ feet. Having this composition, it makes you continue to look and analyze the artwork even more. Staring at the art longer you start to notice the little details that is on it. This sculpture is stable and is symbolic of the time of the Holy Trinity.
There’s detail everywhere on this sculpture. Michelangelo payed attention to the little details of the human body. He added the lines on the knuckles of each finger. He also made sure to add the nails and the color differences of the nails as well. The tip of Jesus’ right hand ring finger has the white tip to the nail that we normally have to ours. He also gave Jesus the grooves on his chest that is between his pectoral muscles. The whole sculpture has a smooth texture look to it. The way the cloth lays is repeated throughout the sculpture from Mary to Jesus. The smoothness of the skin is also repeated in the two figures.
There isn’t much color to this sculpture because it’s made from marble. It has a neutral, grey color throughout it. Also because of the medium he chose and how he sculpted it, it has a smooth glossy look to it. This sculpture is subtractive because he had to carve the figures out of the solid marble with chisels and mallets. He wasn’t able to cast marble, to make it an additive type of sculptural application as in a bronze sculpture. One medium that is additive is bronze, which Donatello used to make the sculpture David for the Medici family in the 15th century.
The David by Donatello, created in 1430–1440, that was made in the early 15th century, is considered to be additive because they had to cast the medium in order to make the figure. He was able to get detail with casting bronze. He didn’t get the little details that Michelangelo got from carving into marble. The casted bronze has a smoother less detailed look to it compared to the Pieta.
The differences of the Pieta and the David sculptures are the detail, the color and the different styles. The David has less detail, you can’t see fingernails or veins, whereas you could see fingernails and veins in the Pieta. The bronze has is darker patina overall because of the nature of the medium, which is almost a grey/green color to it. Compared to the marble, which is a lighter color, almost a white/tan. The Pieta is more conservative because of the preference of
the patron who commissioned Michelangelo to create it.
Whereas the David shows all of the body, nothing’s covered. This was because the Medici family who commissioned Donatello to make this were more naturalists. Another difference of the two sculptures are the heights. The David is only six inches shorter than the Pieta.
Michelangelo used many techniques when he made the Pieta, which made the sculpture an amazing artwork that we still marvel at today. The way he used lines to create something three dimensional out of a solid marble block is amazing. He had a great amount of detail from hair to nails and veins. With other sculptures, you don’t always see that, normally it’s focused on the muscle outline. He was also successful at making the smooth lines for the cloth that was on them. It takes a lot of skill and patience to make something so realistic, smooth, and detail oriented.
Pieta by Michelangelo
David by Donatello
Work Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 & 498.
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student analytical essay from FA112.02 Art History II
Pieta by Michelangelo
Buonarroti, Michelangelo. Pieta. Ca 1498-1500. Marble, 5’-8 1/2” high. Saint Peter’s Basilica, Vatican City, Rome.
This sculpture was created by the artist Michelangelo Buonarroti (1475-1564) from Tuscany. Although Michelangelo was known mostly as the painter of the famous Sistine Chapel ceiling, he was also talented in many other areas such as sculpture, architecture, literature and so on. One might even call him a Renaissance Man because he has talents in so many different areas. Also, many of his works follow the thoughts and beliefs of the famous philosopher, Plato.
Line (actual and implied): Throughout this piece there are countless lines. Line is the path of a point moving in a space or in a piece of art that helps move the viewer’s eye around the forms. Lines can be actual or they can be implied, both of which are present in this piece. Actual lines can be seen, for example, on the pedestal that these figures are sitting on. The pedestal’s rectangular structure has horizontal lines running around it, which suggests tranquility or peace, this can be seen in the statue with Mary quietly sharing a moment with her dead son. Most of the lines in Pieta are actual lines. Take for example, the clothing Mary is wearing, the cloth has many lines running through it to give it actual depth, where shadows fall deeply into the subtractive carved areas, it almost shows how large it is and how it hangs on her body. If one looks at the cloth covering Christ, they could tell that the fabric covering him is lighter in weight and thinner than that covering Mary due to the fact that the lines are etched much more lightly on his. Other important lines that can be seen are on the body of Christ. Michelangelo took the time to etch in each fine line and muscle on the body in order to make it look as life like as possible as so much of his emphasis was on the ‘body beautiful’ much like the early Greco-Roman Hellenistic sculptors. All of the lines in this sculpture give off a soft and natural feeling, none of them appear harsh except for the stone bench Mary is sitting on which is hard looking.
Volume and Mass: A piece that has mass and volume to it is intended to have a look of weight and form, it implies that something has three dimensions. This sculpture clearly has dimension to it, it can also be viewed from all sides. As mentioned earlier, line helps show the depth and the weight of this sculpture. Those lines that run throughout the clothing on Mary are deeply carved, it gives the illusion that her outfit has some weight to it. So, these elements are actually working together in this piece. Christ also appears as if he has some weight to him by the way his is draped onto Mary. The fabric on her lap almost sinks down, suggesting that a lot of his weight is shifted to his bottom and then onto her lap. Though it is hard to describe, the way that Christ’s body is positioned in Mary’s hand also suggests that he has some weight and volume. If one looks at the skin just above his armpit, his skin is being pushed up right above where Mary’s hand is holding him, this makes him look denser. Overall, this sculpture gives a very heavy feel when looking at it. Not to mention the implied heaviness or weight of the story behind the piece.
Repetitive Shapes: A shape can either be organic or geometric and is self-contained, it essentially defines an area. One could argue that this entire sculpture is made up of different shapes, which is certainly true. However, many of the same shapes are used over and over again. One of the most noticeable parts of this sculpture is Mary’s outfit. The entire cloth is composed of different size and shaped triangles that as supposed to come across as folds in the fabric, which it certainly does. Another repetitive shape is on the pedestal of the sculpture. Towards the top of it, there are many rings or circles, that go around it. This was intended to make it look more decorative but the inconsistent spacing of the rings and how deep the go towards the middle gives a feeling of depth. Also, a few other shapes that are repeated are those that are required to make the human body, such as the shapes in the face or the hands. Since there are two individuals in this piece they are used more.
Texture: The texture of something describes the surface quality of it. A texture can either be actual or implied. Since this is a piece made from marble from Carrara, Italy, that can be physically touched, and isn’t say, a painting of implied texture instead, the texture can actually be felt on this sculpture. Michelangelo created this texture (and shapes for that matter) by using a chisel and removing the marble from the form in a subtractive manner. Other than the peaks and grooves created by the lines of the cloth for example, the piece is relatively smooth. This can especially be seen of the skin of Mary and Christ. The lack of texture gives them a completely clear and perfect complexion. The marble itself is a relatively smooth substrate so the only place there would be texture is where the artist carved it in. Though it is tough to see, there is likely a rough texture to Christ’s hair with many lines, etched deeply and shallowly, to create the look of thick hair.
Comparison #1:
Saint Mark by Donatello
Di Niccolo Bardi, Donato. Saint Mark. Ca 1411-1413. Marble, 7’9” high. Or San Michele, Florence, Italy.
Though created by two different artists, the sculpture of Saint Mark is very similar to the Pieta by Michelangelo. They both share very similar techniques when it comes to carving and this is very apparent when you compare the robes on the figures. The way Donatello removed marble was very deep, similar to the cloth on Mary, the robe that Saint Mark is wearing appears to have some weight to it due to the depth of the lines carved. Another similarity can be seen
in the hands of Saint Mark and in Christ, they are very detailed and life like, the skin was created to look almost paper thin. The audience gets this impression because both of the hands have very prominent veins running through them. One of the main differences can be seen in the faces of the figures. Obviously, the face of Christ is rather lifeless because he had just been removed from the crucifix, and Mary’s face shows her sorrow and sadness while mourning the loss of her son. The face of Saint Mark says that he is proud and knowledgeable. His face is very clear and his shoulders are back. He also is carrying a book which also shows his knowledge. Another difference between the figures is their positioning. The figures in Pieta are loose and have a hanging feeling, while Saint Mark is in a contrapposto because one hip has more weight on it than the other.
Comparison #2:
Bound Slave by Michelangelo
Buonarroti, Michelangelo. Bound Slave (Rebellious Slave). Ca 1513-1516. Marble, 7’-5/8” high. Musee du Louvres, Paris.
The Bound Slave by Michelangelo is a sculpture that is very similar to that of Pieta. Both of the sculptures involve figures that are in some sort of distress. In the first, Mary is mourning the loss of her son, Christ and in this sculpture, a slave is rebellion from his master or owner. Michelangelo has made this apparent by the looks on the faces he creates. In terms of the use of the elements, Michelangelo keeps those very similar as well. He uses a large number of organic lines to create almost exactly accurate muscles and features on all of the figures. This sculpture also looks as if it has some weight to it because of the way the muscles have been carved into the leg. They are essentially advancing forward, which suggests that all of his weight on his legs. This sculpture is different because texture is uses more so in this sculpture than in Pieta. The rock which the slave is standing on looks much more like a real rock. It has lines etched through it to give it more texture. It looks much more real than the rock many is sitting on. Also, the pose the slave is in looks very unnatural. It looks like it is just a little farther beyond contrapposto, while the two figures in the other sculpture are more relaxed and loose.
Work Cited
Kleiner, Fred S. Gardner's Art through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 456 & 498.
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student essay example from FA112 Art History II
The Kiss is a painting done by the Austrian painter Gustav Klimt (1862-1918) circa 1907. Klimt was very successful and was one of the most prominent members of the Vienna Secession movement. He is known for his murals, paintings and sketches. His main subject was the female body and he was influenced by Japanese art and its methods. When Klimt painted this, it was at the highpoint of his “Golden Period”. The painting stands about six feet tall and six feet wide. The Kiss is composed of conventional oil paint and has layers of gold leaf applied to it.
It is said that Klimt’s inspiration for this painting was brought on from his trip to Italy in 1903. The Byzantine mosaics gave him a new perspective when it came to the use of flatness and depth (“The Kiss by Gustav Klimt”). This was also the start to his use of gold leaf in all of his art works and his father was a goldsmith. In 1908, an Austrian Gallery displayed The Kiss for the very first time (“15 Things”). Although The Kiss was not even finished, the Belvedere Museum purchased it from this gallery. In 2003, Austria released a dedicatory 100 Euro coin that had an etching of The Kiss on one side. On the other side of the coin, there is a portrait of Klimt hard at work (“15 Things”). Today, this painting is present at the Österreichische Galerie Belvedere in Vienna and is considered a masterpiece of the early modern period.
Klimt’s painting depicts an intimate couple and the rest of the painting has a shimmery look with the patterning. The two figures are positioned at the end of a flower patch and the man’s head is very close to the top of the canvas. The couple is also presented in a non-dualist position because the lines between the man and the women are blurred. They are completely connected and touching at every single point of their bodies. The man is wearing a robe that has irregular black and white rectangles all over, while the women is wearing a tight dress with a flower-like pattern. The man is also wearing a crown of vines on the top of his head. When looking closely, you can see that her hair is also strewn with flowers and it almost forms a halo-like circle that highlights the women’s face. Lastly, there are golden roots around the women’s feet connecting her to the ground.
This painting has a lot of symbolism throughout it. The couple embraced is the perfect symbol of how love unifies a couple into one everlasting kiss. The bodies also look as if they are fused together symbolizing their unison. The Kiss shows the passion that Gustav was seeing with his eyes. Also, the position of their bodies forms the Chinese yin yang symbol. The yin yang symbolizes two completely opposite halves converging and blending into one another. The same thing is happening with the couple that is happening in the yin yang symbol. The whole painting symbolizes unity, passion and can be suitably described as the instance where the human soul comes to feel the embrace of the divine beloved.
Klimt used mostly golds, browns, and yellows as the primary color composition of this painting. The bright yellow emphasizes the subject, which is the couple, and draws the viewer’s eyes to the middle of the painting. Gustav used the bright yellow color really well by using it in the center of the painting. It really pops compared to the duller color of the background. While the browns cause a contrast with the flower patterns and expand them through the background to depict unity. The man’s robe is covered in small repetitive rectangles that are black and white and the women’s clothing has multi-colored ovals. All the colors on their clothing are very contrasting, with strong contours and a variety of high saturated colors, tints and tones.
In The Kiss, you can see a lot of different textures due to the combination of oil paint and the use of gold leaf. There are three clearly defined areas in the painting- the dark background, the floral pattern and the couple. Gustav’s use of gold leaf is really important regarding to the texture and space of the painting. The gold leaf in the background brings more depth due to its actual tactility and to the couple kissing. It looks as if there is space between the couple kissing and the background of the painting. Also, the flower patterning gives the illusion of space too because it appears to be some sort of hill or cliff. The couple are the only ones there, in the field of gold. The women’s toes are hanging off and almost wrapping around the edge of the flowers. Klimt used frescoes and mosaic techniques that can especially be seen in the flowers. Also, the swirls, spirals and phallic designs within the texture of the painting bring forth the meaning of intimacy and passion in the canvas.
In all artworks, shapes are very important. They can make up the composition of a work of art and can be symbolic. The couple in the painting complement each other asymmetrically; both have their own clear attributes. The rectangle and oval shapes are very repetitive throughout the couple’s clothing. The white and black rectangles on the man’s clothing symbolize masculinity, while the shapes on the women’s clothing are round and colorful, they symbolize feminism. I think without the use of repetitive shapes throughout this painting, it would be very boring. Differences in scale produce different visual weights, which is a measure of the force that an element exerts to attract the viewers eye. The couple embracing is the subject of the painting and Gustav Klimt made them very big. Since they almost take up the whole canvas, the embrace draws the viewer’s eyes directly to it. The use of shapes in The Kiss give it a very unique touch and makes it stand out in beautiful balance and unity of opposites.
Gustav Klimt used many different techniques, colors and details in the making of his painting, The Kiss. Symbolism, texture, space, color and repetitive shapes are just a few of the elements that makes this painting so great. The Kiss is one of the most popular paintings done by Klimt and from the period of Art Nouveau. Klimt’s techniques truly brought forth a new meaning of emotion and unity.
Works Cited
Kleiner, Fred S. Gardner's Art Through the Ages. 14th ed. Boston: Wadsworth, 2014. Print. 711.
"The Kiss by Gustav Klimt – Facts & History about the Painting." Totally History.
TotallyHistory.com, 2012. Web. 19 Apr. 2017.
"15 Things You Should Know About Klimt's The Kiss." Mental Floss. Mental Floss Inc., 08
June 2015. Web. 18 Apr. 2017.
Dimensions: 5′ 11″ x 5′ 11″
Genres: History painting, Genre art
Media: gold leaf, Oil paint
Klimt, Gustav. The Kiss. Ca 1907-1908. Oil on Canvas, 5’-10 3/4” x 5’ 10 ¾”. Osterreichische Galerie, Belvedere, Vienna.
This painting was created by Gustav Klimt (born 1862, died 1918) and is titled The Kiss (1907-1908) and was made using oil on both a canvas and gold leaf. It shows two people embracing one and other with a man kissing a woman on her cheek. They appear to be so in love that time nor space matters. They are in a trance, in a timeless world and only they exist as one entity. The bodies are mostly covered by a gold, highly ornamented cloak, which may or may not be due to the fact that Klimt had gotten into some trouble for potentially pornographic works earlier, as mentioned on Klimt’s website (The Kiss Painted by Painter Gustav Klimt, 2017.). Perhaps this was to ease the minds of his audiences again, while still producing a passionate piece. The colors, shapes and techniques used help suggest its Art Nouveau style, according to the textbook. This particular painting is Art Nouveau style, which is apparently because of the asymmetry, flowery and organic forms symbolically depicted throughout. This type of art was applied to many different types of art such as sculpture, architecture, etc.
Shape and Repetition (implied and actual): Very similar to line, shape can be seen in countless places in this artwork. A shape is a flat configuration that helps express two dimensions. Repetition is simply how often those shapes occur in the piece and gives it some unification. In The Kiss, shape can be seen on the “clothing” the couple is wearing. The man is wearing a cloak depicted with very geometric shapes that give off a more masculine and strong, symbolic masculine shape. They consist of mostly rectangles. The woman’s clothing is covered in different scale circles that contrasts greatly the angular shapes of the male cloak. The organic and curvy shape is suggestive or symbolic to a woman’s body because a woman’s body is softly shaped and curvilinear like a circle. If one looks at the couple as a whole, they create one large organic shape, similar to a large standing stone, or maybe even a mountain — as if they are stronger together than apart, they also appear to be kneeing on a similar shape as well. Overall, the shapes in this piece, both actual and implied, tend to be much more organic in shape. This is one of the reasons why the rectangles on the man’s clothing appears to be so clear, eye catching and in high contrast to the female’s fully saturated colors of red, blue and violet.
Color and Value: This painting has a very large number of colors within it, thus is a highly chromatic painting. For the most part, the warmer colors such as the reds, yellows and pinks appear to be moving forward while the cooler colors such as the muddy yellow, the blues and the black seem to want to recede visually in the painting. The muddy yellow background suggests that it might be evening/sundown, or that their love (the brighter colors) are pulling through/ shining through the darkness, possibly meaning that their love can conquer anything. The colors of the shapes found on the man’s clothing are darker in value (masculine), and at the opposite end of a value scale, the woman’s clothing has very bright and vibrant colors. Similar colors are shown on the flowers they are sitting on, which suggests that it may be spring time, or their love is just “blossoming”, the darker blue flowers give the cluster a little more depth. Another factor to notice is, other than the different color shapes on the couple’s clothes, they seem to both be wrapped in the same color, yellow. This signifies that the two are united in a very strong and warming glow.
Scale: The scale of the painting itself is relatively large (approximately 5’X5’), so every detail is seen closely. The couple takes up the most amount of room in the painting, suggesting they are the main subject matter of the piece. The next largest feature is the cluster of flowers they are sitting on. If the audience looks at all of the different flowers, they might find it visually appealing or interesting because of the varying scales of the flowers, it tends to keep the viewer’s eye moving throughout the painting. The same technique can be seen used on the couple’s clothing as well. The varying scales of the shapes suggests a pattern on the clothing.
Space and Texture: This piece gives the illusion of flatness. There is not much use of atmospheric perspective here because it all seems to be on the same level, or is the same distance from the viewer. Depth of the field is produced by the simplicity of overlap. The darker background that slightly recedes is the only real trace of depth. In terms of texture, this background of this piece seems like it may have a bumpy or ridged tooth to it. It is very likely to have some sort of texture due to the fact that it has gold leaf on it. The applied gold leaf adds actual texture to Klimt’s work, much like early medieval icon paintings. These actual “bumps” on the painting’s surface catch light and illuminate the entire subject. The cluster of leaves and flowers look like they have a brush stroke texture to them, which is actually creating the illusion of them growing upward. The small amounts of skin being shown by the couple look to be very smooth and soft.
Works Cited
Kleiner, Fred S. "Gustav Klimt." Gardner's Art Through the Ages. 14th ed. Vol. 2. Boston: Clark Baxter, 2014. 711. Print.
"The Kiss Painted by Painter Gustav Klimt." Klimt Museum Online. N.p., n.d. Web. 21 Mar. 2017.
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student essay example from SA131.01 - 2D Design and Color Theory
Jerry Uelsmann Untitled 2000 Gelation Silver Film Photograph
Figure 1
NOTES:
B & W photo - full tonal value range
Value contrast - present a three dimensionality to all forms
Space & Line: Linear perspective = one point perspective - road way leads us back into deep space
Balance: symmetry - bifurcation vertical separates two parts of 'face'; horizontal bifurcation almost
can be seen at the horizon line where trees meet sky.
Implied texture
Negative space (sky) serves as positive form (as the forehead of the 'face')
Dark tonal values provide shadow under the bushes that serve as nostrils
Line: Strong verticality on right side stops the viewer's eye from traveling outside photo
texture --- implied - high contrast between what we know as a bumpy road, to the softness of lips
Darker value evergreen imply depth full space or the eye sockets
Jerry Uelsmann, born in Detroit on June 11, 1934, is an analog or film photographer who uses multiple enlargers in order to create his pieces. Uelsmann first became involved in photography in high school where he worked alongside a local photographer as an assistant during wedding shoots. As time progressed, he began to shoot weddings himself (Maher, Berman).
He received a Bachelor of Fine Arts degree from the Rochester Institute of Technology in 1957 then went on to receive his Masters at Indiana University studying under Henry Holmes Smith (1909-1986) (Maher, Berman). In 1960, he began teaching photography at the University of Florida in Gainesville. This is around the time that he first began to experiment with printing from multiple enlargers (Uelsman).
Uelsmann uses a spontaneous approach when creating his photographs. Instead of piecing negatives together with a full idea in his head, he works more on the spot with a trial and error method (Maher, Berman). When asked in an interview if his photos had a message to them, Uelsmann explained that he “doesn’t have a hidden agenda that they have to have a specific response to” and people are welcome to interpret them however the want (Harris).
Currently living with his wife in Gainsville, Florida and finding inspiration through his camera, Uelsmann makes roughly 100 different prints a year only to end up liking about 10 of them (Maher, Berman). This proves that even if you are a master at something, that doesn’t mean that everything you do will be perfect.
In the photograph, Untitled 2000 (Figure 1), Uelsmann uses a skewed version of the rule of thirds. The only aspect of the photograph that falls on any part of the rule of thirds is the small crow located on the road. Some explanations for this photograph state that the whole thing represents a face. With our own knowledge of the human anatomy we are able to complete the rest of the figure on our own. The presence of the lips also gives an eerie feeling as if there was someone hiding in the woods.
The diagonal lines of the road act as a guide for eyes and they bring us back through the photograph giving it a strong depth of field. The lines then continue up along the trees and back to the foreground causing your eyes to travel across the whole photo. This is an excellent use of one point linear perspective. The branches of the trees and the lines of the lips also work as directional guides for our eyes.
The shadows and highlights in the branches and leaves of the trees and the pathway help add dimension and detail to the overall photograph thus making it more dynamic. Having the rich blacks adds to the overall effect of the image. The shadows on the pathway toward the back of the photo show the skill and technique of Uelsmann.
The blending techniques used make the combination flawless as the lips blend perfectly into the path. The details as well as the shadows on the lips give them an eerie feel. The lips also add contrast to the path because while the path appears to be smooth, you can see the cracks and lines in the lips.
Texture is another being element in this photograph. The texture of the trees and their leaves contrasts well to the smoothness of the pathway and the bright, cloud-free sky. The trees also contrast to themselves due to some of them being very light and other being very dark. Other aspects that contrast each other are the single black crow and the light colored pathway that it is on.
This photograph also contains a wide range of tones throughout it. It has its sections of bright white, the sky, as well as sections of rich blacks, the shadows of the trees and the crow. This wide tonal range as well as other photographic elements help make the overall photograph more balanced and unified.
Over the years, Jerry Uelsmann has become a master in darkroom manipulation and his works have been shown in museums and galleries across the world. In addition to this, his works have also been utilized in teaching film manipulation in different schools.