Given some other details of the painting's construction, however, and specifically of the halo, this interpretation could be seen in an ironic light.
Most of the painting's colors are quit vibrant, with red and yellow dominating. There are several instances in the painting where certain objects seem to blend in with or fade into the background. The halo is one such object; in both color and size it is one of the least assuming objects in the painting, and almost no attention would be focused on it if not for its mention in the title. Gauguin could be ironically commenting on his attitude towards religion, hedonism, or just basic lust, but the near transparency of the halo makes it hard to accept as sincere.
The nearly complete use of space Gauguin employs in this painting has a nearly claustrophobic effect; even the fields of red and yellow that dominate, respectively, the upper and lower halves of the painting are textured enough to appear fully substantial rather than merely background. In addition, the painting is broken up by so many images that it is hard to take it all in at once, adding to the feeling of closeness that almost presses on the viewer's eyes. Gauguin does not employ any lines at all in the painting, instead seeming to have gone to certain lengths to ensure that every part of every object rendered in the painting is curved, complete with the drooping, phallus-like flowers.
Despite all of the confusion in the painting, there is a certain vertical balance to the two halves. This is more disrupted than over-riding, however, and the visual movements in the painting seem to be in all direction -- the figure down and to the left, the flowers straight up the middle, and even the apples appear as though they might fall straight down.
Works Cited
Paul Gauguin. Slef Portrait with halo. Oil on wood, 1889. Accessed via the National Art Gallery website 29 March 2009. http://www.artchive.com/artchive/G/gauguin/gauguin_halo.jpg.html
Lope. "The Halo in Western Art." 2002. Accessed 29 March 2009. http://www.lope.ca/halo/
Art History Of the Western World Raphael's Madonna of the Meadow is from the High Renaissance period, which lasted from the 14th Century to the 16th Century. The Italian term "Madonna" is a medieval term for a noble or important woman, but in Western art it has come to specifically refer to work that depicts the Virgin Mother Mary. Biblical subjects such as the Madonna were very important to Renaissance painters
The realism of proportion and position is a hallmark of the Late Renaissance/Baroque period. The sharp contrast between Christ and his surroundings, however, is a distinct and yet subtle influence of de Champaigne's Flemish training. Christ is very clearly and visibly defined, and there is no question that he stands out fro the other elements of the painting, scant as they are, appearing almost to have a three dimensional
Baroque Art An examination of "Virgin and Child with St. John the Baptist" by Jacopo del Sellaio, 1480-85 and "St. Sebastian Attended by Holy Women" by Nicolas Regnier (called Nicolo Renieri) 1615-1626 reveal the differences between early and later Renaissance painting in Italy. Jacopo del Sellaio's word dates to the late fifteenth century, and Renieri painted more than a century after that. The historical context of their work also signals the
The most striking difference of this painting is the extensive use of gold leaf. A matured use of shadow and detail can be seen in this tangka, indicating a later, more developed art form. It lacks the detail to symmetry found in the other two examples as well. This piece provides an excellent contrast to the earlier two Tangka that were examined. it's attention to shading, clear outlines, and
Academic Level: Senior University Class: World Art Survey Instructions: 1. Choose a peace artwork give a complete description work. For: What material(s) made ?What size? Shape? Color? What depicted? Is object/work intact fragmentary? Damaged? You basically answering question "What ?" detail find. The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth
Roman mosaics were more frequently used to adorn the floors, and thus used less glass, gold, and elaborate materials. Perhaps the most famous Byzantine mosaics are those found in the Hagia Sophia, the most famous church in Eastern Christianity. On the South Gallery or Catechumena is displayed a depiction of Christ, Mary, and St. John the Baptist known as the Deesis. Christ's "face is strikingly realistic and expressive…All [figures]
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now