DB from the Middle Ages through the Renaissance Essay Example

provide assistance to St. Jerome, even during challenging and painful times, similarly as He did with Jesus Christ. The angels seem to be commemorating the reunion of God and Christ, a scenario that may also occur when St. Jerome passes away and ascends to heaven. The painting's lines are indistinct, and the brush strokes are delicate. The texture of the artwork varies from rough to slightly smooth, with shapes utilized to depict most of the particulars. Shapes play an important role in this piece of art.

Furthermore, the lines in the painting are less prominent compared to the shapes. The painting has a unique exterior shape, with measurements of 13 ? x 10 inches, resembling a curved long rectangle. The artwork utilizes a delicate balance of shapes and colors. The colors used are not overpowering, allowing the symbolism in the artwork to shine through. Oil is the medium employed for this painting, resulting in smooth strokes, lines, colors, and texture in certain areas. Botticelli did not employ any specific or discernible pattern in this piece.

The painting displays a sense of balance in its use of colors, with an equal intensity of light and darkness. The white and brown robes worn by the altar boys on the left mirror those worn by St. Jerome and the two men on the right. Furthermore, there is near-perfect symmetry in the composition, including the hut, crucifix, and plants. The characters within the painting also contribute to a feeling of equilibrium, as there are two altar boys on the left, two men on the right, and two saints in the middle.

The presence of altar boys,

candles and candleholders, a crucifix, and St. Eusebius' appropriate robe highlights the church atmosphere. The idea of relying on someone's help in times of pain is emphasized by the depiction of two men supporting St. Jerome and God supporting Jesus Christ. There is solemnity and a sense of harmony between lines, colors, and shapes in the painting. Botticelli portrays the holiness and solemnity of a communion while symbolizing that there is a heavenly haven awaiting us after death being in God's hands. This artwork by Botticelli is truly a masterpiece that can move observers, offering hope and strengthening faith.

The painting signifies the importance of staying determined in our chosen path, beliefs, and religion. It represents hope and the reward of righteousness. For me, it is a significant and valuable artwork that is best displayed in a museum rather than my home. The painting was not created to have a small impact; it was intended to have a profound influence. The emotional reaction I had when viewing the painting should be shared with others. The group also selected another artwork by Leonardo da Vinci.

The painting "Ginevra de' Benci" was created between 1474 and 1480, specifically in 1474. This is supported by the fact that Ginevra, the subject of the painting, married Luigi Niccolini at the age of 16 in the same year. The period from 1474 to 1480 is also significant because Bernardo Bembo, a potential patron of the artwork, served as the Venetian Ambassador to Florence during this time. Bembo held this position from 1474 to 1476 and then again from 1478 to 1480. It is known that despite being married

to other people, both Bembo and Ginevra had a romantic relationship.

During that time, this relationship was accepted and a horizon can be observed in the right background, along with some trees and a river or small body of water. Trees, particularly a juniper tree, can be seen behind Ginevra in the painting. The juniper tree, translated in Italian as "ginepro," may have been a symbolic pun on Ginevra's name. In the Renaissance, the juniper tree symbolized chastity, implying Ginevra's status as a sensitive virgin woman.

The painting exhibits clear and precise lines that capture the intricate details of Ginevra's face as well as the shapes of the trees in the background. The utilization of slightly heavy brush strokes enables us to observe the horizon and the shadows cast by the trees on the body of water. Leonardo da Vinci's use of distinct lines is also apparent in Ginevra's hair, which features curls that rise and fall. The texture of the background ranges from somewhat rough to smooth, while a smooth texture can be observed throughout Ginevra herself, including her dress. In general, this painting has a rectangular shape.

Ginevra has diamond-shaped eyes and an almost round face with edges on her chin. Dark colors dominate, contrasting with the light color. Her flesh is pale, contrasting with the dark background. Her hair color is similar to the leaves of the juniper tree. The painting, measuring 38.5 x 36.7 inches, was created using oil on wood. It appears more crowded on the left side compared to the right side, but no other specific pattern aside from distinct lines and the model's smile can

be identified in the painting.

The painting displays an imbalance, with the left side appearing more crowded than the right side. Ginevra appears to be leaning heavily towards the left, placing all her weight on that side. The picture exhibits a pleasing contrast, with varying color intensities. This is evident in the tree on the right and its reflection on the water. The sky also displays good contrast, indicating a possible time period of when the painting was made.

The smoothness of Ginevra's skin accentuates her youth and beauty, which is depicted through the artist's choice of a smooth texture. The presence of the juniper tree in the painting could additionally highlight Ginevra's personality. Leonardo da Vinci crafted this artwork featuring a female subject who, similar to his renowned piece "Mona Lisa", does not display a smile. The artwork implies that the model may feel uneasy or too timid to express herself, potentially intending to present Ginevra as an introverted or shy person to viewers.

The model's aloofness is highlighted by the juniper tree background, which represents chastity. Despite not being particularly fond of this artwork, I admit that Leonardo da Vinci did a great job capturing Ginevra's distinct, clear, and smooth image. However, the painting lacks a certain friendliness towards the viewer. I believe this piece deserves to be displayed in a museum rather than in my home, as it warrants a deeper appreciation and understanding from different perspectives. It seems that the model's attitude and emotions are concealed within her lips, eyes, and eyebrows.

The reason behind her aloofness, similar to feeling cold, is somewhat intriguing. The group chose

Leonardo da Vinci's third artwork, the renowned "Lady with an Ermine," created in 1485. It is known that Leonardo da Vinci met Cecilia Gallerani, who was Duke Lodovico Sforza’s mistress, in Milan in 1484. Gallerani, who was only 17 years old at the time, can be seen holding a white ermine in the painting. The ermine holds great significance in the interpretation of this masterpiece.

In the era of Cecilia, different interpretations can be found within the ermine. This animal was associated with nobility or aristocracy, which connects to Cecilia and her noble status. Her black jewelry and extravagant hairstyle further emphasize her high social standing and a certain level of modesty. On the other hand, the white ermine could represent purity and virginity, contradicting the idea that she is the duke's mistress. It is worth noting that technically speaking, the animal Cecilia Gallerani holds in the painting is not an ermine but a white ferret. The lines in the artwork are well-defined and its texture appears smooth.

The painting is rectangular on the outside and has distinct shapes inside. The dress worn by Cecilia Gallerani showcases a pleasing combination of colors and shapes. It is made with oil on wood and measures 54 x 39 cm in size. Like Leonardo da Vinci's other works, such as the Mona Lisa and Ginevra de' Benci's portrait, the model's face in this painting features Leonardo's signature elements like defined lines and a subtle smile. While the overall balance of the painting is quite good, the black background somewhat dominates over the model.

Although it lacks contrast in its colors, the painting effectively conveys a

sense of innocence and tranquility with underlying concerns. The serene colors on the model's skin, ermine, and garments create a soothing effect. Interestingly, it seems as if the ermine is coming towards the viewers or spectators. Overall, the proportions depicted in the painting are somewhat satisfactory. Like Leonardo da Vinci's other artworks featuring female models, this piece aims to depict the personalities and principles of its subjects.

Once again, the alluring "smiles" of the subjects captivate observers, urging them to delve further into the painting. The ermine, especially, encourages onlookers to search for additional symbolic meanings. I am fond of this artwork as it served as a pivotal piece in establishing Leonardo da Vinci's artistic standard. I would prefer to have this masterpiece exhibited in my home rather than in a museum. It offers numerous intriguing perspectives, and I feel compelled to spend more time contemplating its depths. Keeping it at home would afford me the opportunity to truly delve beyond the conventional viewing experience.