By Susie Hodge
This concise but entire advisor to the historical past of artwork is the best instruction manual for all would-be paintings buffs. artwork historian Susie Hodge takes you on a whistle-stop foreign travel of the entire significant philosophies, activities, levels, advancements, artists, and issues, from prehistoric artwork to Hyperrealism. different strategies lined comprise Greek classicism, Gothic paintings, the Renaissance, Baroque, Romanticism, Realism, Impressionism, Cubism, surrealism, Pop paintings, and Minimalism.
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Extra resources for Art in Minutes
The light accenting her knees makes it seem as if the body of Christ has just been lifted from there, and this is further emphasized by the grouping of hands (particularly one of Christ’s, lifted by the youth supporting his torso as well as by the figure behind him). Both these hands and the highlighted, strategically placed arm of Mary Magdalene draw our eyes to the Virgin’s empty lap. The viewer standing before the altarpiece is directly confronted with the main figure of Christ, whose body glows from the light falling from the upper right in front of the picture plane.
Christ’s death and sacrifice occur not only in the historical past, but also in the present; they are taking place before the worshiper and for the worshiper. Pontormo’s altarpiece deliberately includes and involves the viewer on an emotional level, not only through the visual proximity of the figures, but even more so by the emotional entreaties marked by their gestures and facial expressions. We are intended to honor and venerate the body of Christ and to contemplate and meditate on the story of his Passion by visualizing its scenes in our minds.
After finding her tomb empty, the monumental apostles in the lower zone all dramatically respond, through expression and gesture, to the Virgin’s assumption into heaven. Most of them look up, and several even gesture upward toward the Virgin. ” They are not arranged frontally in a semicircular group, but are rather positioned with seeming haphazardness— some face forward, others are in profile, and one is seen completely from the back. The apostles in the center, moreover, are cast in shadow by the cloud- filled bank that carries the Virgin directly above them.
Art in Minutes by Susie Hodge
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