114 lines
7.1 KiB
Plaintext
114 lines
7.1 KiB
Plaintext
ÜÜÜÜÜÜÜÜÜÜÜÜÜ ÜÜÜ ÜÜÜÜ
|
|
ÜÛÛÛÛÛÛÛÛßÛßßßßßÛÛÜ ÜÜßßßßÜÜÜÜ ÜÛÜ ÜÛÛÛÛÛÛÛÛÜÜÜÜÜÛßß ßÛÛ
|
|
ßÛÛÛÛÛÛÛÛÛÛÛÛÛÛÜ ßÛÛ ÜÛÛÛÜÛÛÜÜÜ ßÛÛÛÛÜ ßÛÛÛÛÛÛÛÜÛÛÜÜÜÛÛÝ Ûß
|
|
ßßßÛÛÛÛÛÛÛÛÛÛÜ ÞÝ ÛÛÛÛÛÛÛÛÛÛÛßßÛÜÞÛÛÛ ÛÛÛÛÛÜ ßßÛÛÛÞß
|
|
Mo.iMP ÜÛÛÜ ßÛÛÛÛÛÛÛÝÛ ÞÛÛÛÛÛÛÛÛÛ ÞÛÛÛÛ ÞÛÛÛÛÛÝ ßÛß
|
|
ÜÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛÛÝ ÛÛÛ ÛÛÛÛÛÛ
|
|
ÜÛÛÛÛÛÛÛÝ ÞÛÛÛÛÛÛÛÛ ÞÛÛÛÛÛÛÛÛ ß ÞÛÛÛÛÛÛÜ ÜÛ
|
|
ÜÛÛÛÛÛÛÛÝ ÛÛÛÛÛÛÛÛ ÛÛÛÛÛÛÛÛÝ ÞÞÛÛÛÛÛÛÛÛÛß
|
|
ÜÛßÛÛÛÛÛÛ ÜÜ ÛÛÛÛÛÛÛÛÝ ÛÛÞÛÛÛÛÛÝ ÞÛÛÛÛÛÛßß
|
|
ÜÛßÛÛÛÛÛÛÜÛÛÛÛÜÞÛÛÛÛÛÛÛÛ ÞÛ ßÛÛÛÛÛ Ü ÛÝÛÛÛÛÛ Ü
|
|
ÜÛ ÞÛÛÛÛÛÛÛÛÛÛß ÛÛÛÛÛÛÛÛÛ ßÛÜ ßÛÛÛÜÜ ÜÜÛÛÛß ÞÛ ÞÛÛÛÝ ÜÜÛÛ
|
|
ÛÛ ÛÛÛÛÛÛÛÛß ÛÛÛÛÛÛÛÛÛÛÜ ßÛÜ ßßÛÛÛÛÛÛÛÛÛß ÜÜÜß ÛÛÛÛÜÜÜÜÜÜÜÛÛÛÛÛß
|
|
ßÛÜ ÜÛÛÛß ßÛÛÛÛÛÛÛÛÛÛÜ ßßÜÜ ßßÜÛÛßß ßÛÛÜ ßßßÛßÛÛÛÛÛÛÛßß
|
|
ßßßßß ßßÛÛß ßßßßß ßßßßßßßßßßßßß
|
|
ARRoGANT CoURiERS WiTH ESSaYS
|
|
|
|
Grade Level: Type of Work Subject/Topic is on:
|
|
[ ]6-8 [ ]Class Notes [AP Report on the Holy ]
|
|
[x]9-10 [ ]Cliff Notes [Trinity by Masaccio. ]
|
|
[ ]11-12 [x]Essay/Report [ ]
|
|
[ ]College [ ]Misc [ ]
|
|
|
|
Dizzed: 06/94 # of Words:914 School:? State:?
|
|
ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>Chop Here>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ>ÄÄÄÄÄÄÄÄÄ
|
|
The Holy Trinity by Masaccio was done approximately 1428. It is a
|
|
superb example of Masaccio's use of space and perspective. It consists of
|
|
two levels of unequal height. Christ is represented on the top half, in a
|
|
coffered, barrel-vaulted chapel. On one side of him is the Virgin Mary,
|
|
and on the other, St. John. Christ himself is supported by God the Father,
|
|
and the Dove of the Holy Spirit rests on Christ's halo. In front of the
|
|
pilasters that enframe the chapel kneel the donors (h usband and wife).
|
|
Underneath the altar (a masonry insert in the painted composition) is a
|
|
tomb. Inside the tomb is a skeleton, which may represent Adam. The
|
|
vanishing point is at the center of the masonry altar, because this is the
|
|
eye level of th e spectator, who looks up at the Trinity and down at the
|
|
tomb. The vanishing point, five feet above the floor level, pulls both
|
|
views together. By doing this, an illusion of an actual structure is
|
|
created. The interior volume of this 'structure' i s an ex tension of the
|
|
space that the person looking at the work is standing in. The adjustment
|
|
of the spectator to the pictured space is one of the first steps in the
|
|
development of illusionistic painting. Illusionistic painting fascinated
|
|
many artists of the Renaissance and Baroque periods.
|
|
|
|
The proportions in this painting are so numerically exact that one
|
|
can actually calculate the numerical dimensions of the chapel in the
|
|
background. The span of the painted vault is seven feet, and the depth is
|
|
nine feet. "Thus, he achieves not only successful illusion, but a
|
|
rational, metrical coherence that, by maintaining the mathematical
|
|
proportions of the surface design, is responsible for the unity and harmony
|
|
of this monumental composition." Two principal interests are summed up by
|
|
The Holy Trinity: Realism based on observation, and the application of
|
|
mathematics to pictorial organization.
|
|
|
|
All of the figures are fully clothed, except for that of Christ
|
|
himself. He is, however, wearing a robe around his waist. The figure is
|
|
"real"; it is a good example of a human body. The rest of the figures,
|
|
who are clothed, are wearing ro bes. The drapery contains heavy folds and
|
|
creases, which increases the effect of shadows. The human form in its
|
|
entirety is not seen under the drapery; only a vague representation of it
|
|
is seen. It is not at all like the 'wet-drapery' of Classica l antiquity.
|
|
|
|
Massacio places the forms symmetrically in the composition. Each
|
|
has its own weight and mass, unlike earlier Renaissance works. The fresco
|
|
is calm, and creates a sad mood. The mood is furthered by the darkness of
|
|
the work, and the heavy sh adows cast.
|
|
|
|
Grunewald's The Isenheim Altarpiece is an oil painting on wood,
|
|
completed in 1515. The altar is composed of a carved wooden shrine with
|
|
two pairs of movable panels, one directly in back of the other. The
|
|
outermost scene is the Crucifixion; on the inside there are two others. On
|
|
the two sides, two saints are represented (St. Sebastian on the left, and
|
|
St. Anthony on the right). Together, these saints established the theme of
|
|
disease and healing that is reinforced by the inner paintin gs. On the
|
|
bottom of the panel, when opened, it appears that Christ's legs were
|
|
amputated; possibly an allusion to ergotism, a disease treated in the
|
|
hospital where the altarpiece was kept.
|
|
|
|
An image of the terrible suffering of Christ is in the middle. The
|
|
suffering body hangs against the dark background, which falls all the way
|
|
to the earth. The flesh is discolored by decomposition and is studded with
|
|
the thorns of the lash. His blackening feet twist in agony, as do his arms.
|
|
His head is to one side, and his fingers appear as crooked spikes. The
|
|
shuddering tautness of Christ's nerves is expressed through the positions
|
|
of his fingers. Up to this point, no other artist has ever produced such
|
|
an image of pain. The sharp, angular shapes of anguish appear in the
|
|
figures of the swooning Virgin and St. John, and in the shrill delirium of
|
|
the Magdalene. On the other side, John the Baptist, a gaunt form, points a
|
|
finge r at the body of the dead Christ. Even though death and suffering
|
|
are dominant in the altarpiece, there are symbols of hope: The river
|
|
behind St. John, which represents baptism, and the wine-red sky which
|
|
symbolizes the blood of Christ. Through th ese sym bols, ahope of
|
|
salvation is offered to the viewer.
|
|
|
|
The use of space is ambiguous in some places: All of the forms are
|
|
at the same general depth in the painting. However, none of the forms are
|
|
tangled, or intertwining. Therefore, the space is not badly used.
|
|
|
|
Once again, all of the forms except for that of Christ are fully
|
|
clothed. Christ is again wearing a small robe around his waist. The other
|
|
forms are depicted superbly. Their bodies are not lost behind the drapery
|
|
which they wear, yet they are not seen exactly either. The folds are more
|
|
delicate, which create a calmer mood. (Christ's description was already
|
|
given). The forms are three dimensional, and also have weight. They
|
|
clearly take up space, and where they are is clearly defin ed.
|
|
|
|
As in The Holy Trinity, the composition is generally symmetrical,
|
|
centered around the body of Christ. It is a frightful composition,
|
|
because of the events taking place. Expression is shown on all of the
|
|
figures, who grieve Christ's death.
|
|
|
|
Overall, the two works are very similar. Masaccio, however, was
|
|
more interested in the mathematical aspects of painting than Grunewald.
|
|
Both works are superb, and have their own distinct qualities.
|