Art Gallery Vilma C Penacolumbia Southern University July 3,

Art Galleryvilma C Penacolumbia Southern Universityjuly 3 2017art

Art Gallery Vilma C. Pena Columbia Southern University July 3, 2017 Art and religion theme Introduction –religious art works support moral message of religion. The art works purport to illustrate in context any set of human beliefs that they regard sacred, spiritual and divine. Religious art date as back as the Renaissance period. Religious themes were often commissioned by well to do patron including the pope.

Religious artworks were among the best Renaissance art work. 2 Art and religion theme Introduction -Brief explanations of the theme and its elements using supporting facts. Close to a third of paintings in the national gallery of western European art are of religious subjects. The theme reflects that after classical antiquity religion became unanimous. The images made to inspire and strengthen faith through private and public devotion.

Religious themes use elements of symbolism, narrative, ritual, iconoclasm, calligraphy and authorship in expressing tenets of beliefs through out history. Religion and spirituality has been a theme of art for many areas. Religious arts make use of motifs. Christianity for example illustrates various principles and narratives of religion. Christianity make use of elaborate iconographic systems, whereby each saint is associated with a particular object or animal.

Example is saint peter with keys and depicted with a shamrock for audiences to covey the narrative. In India Buddhist art flourished, while Tibetan Buddhist was created as a meditation practice. An example of the meditation art is the sand mandala made and used by monks. Islamic art, on the other hand, prohibits representational images of religious art. The artworks comprise of calligraphic decorations and repetitive geometric patterns.

Geographic patterns make up of non-figurative types of decorations in Islamic art. 3 Last supper Leonardo da Vinci painting Artwork image (Goldscheider, 1959) Include citation 4 The last supper Visual Elements: The angles and lighting draws attention to the centre of the composition The picture measures 15 feet by 29 feet The painting is a wet Fresco painting The painting provides for a linear perspective uses gesture Jesus is given a triangular shape illusions to the number three immaculate detail of still life Time and motion is included The picture depicts reaction of each of the disciples to the news declared by Jesus that one of them will betray him. The picture has a straightforward biblical interpretation.

It is the first real example of high renaissance aesthetic. The angles and lighting draws attention to the centre of the composition. Position of Jesus at the vanishing point where all perspective lines meet. The picture measures 15 feet by 29 feet occupying end wall of the dinning hall at the covert of Santa Maria delle Grazie in Milan. Time and motion as the scene takes place at night with charcters placed in motion The painting is a wet Fresco painting- Leonardo first sealed stone surface and painted over it with tempera oils.

The painting provides for a linear perspective Leonardo uses gestures. Painting contains number of illusions to the number of three-disciples seated in three, three windows Jesus is given a triangular shape marked by his head and outstretched arms. All items portrayed immaculate detail of still life. One can clearly make out the lace of the table cloth, transparent wine glasses, pitchers of water. 5 The last supper Design Principles: Formal balance is dignified, stable, ,more static and symmetrical Informal balance is asymmetrical.

Fluctuations in humidity caused the painting to crumble off the wall. Schematic linear dispensation of actors Various linear implied techniques. The colour scheme is polychromatic There’s a touch of mundane in details of feet, sandals and intrications in facial musculature. Protagonist occupies centre of composition, Christ isolation. 6 The last supper Explanation of background The painting depicts famously scene from Holy Thursday.

Jesus and his apostles share a final meal before his death and resurrection. Jesus reveals the one to betray him. Vinci depicts him as a spilling salt on the table as part of renaissance pun. Leonardo was a renaissance man. The work began in 1495 and was completed around 1498. the painting drama is heightened by composition and details.

Each figure is unique and memorable down to the smallest of details. The last supper is the most reproduced paintings in the world. The room terminates at the three windows with a beautiful landscape. The landscape in the background terminates in a kind of misty, greyish horizon. Colours become more dull and colourless- aerial perspective.

Renaissance artist create illusion of depth in landscape scenes. The painting shows a rectangular room with coffers on the ceiling and tapestries on either side of the room. . Nozze di cana Paolo Veronese 1563 painting Artwork image (Hanson, 2010). Include citation 8 Nozze di cana Visual Elements: The Louvre Museum in Paris houses the impressive painting of Paolo Veronese. The formal 70 squared meter art training contemplates aesthetic and technical element.

Of the 130 figures, only Jesus is surrounded by a pale glow. Contemporary costumes Luminous colors-yellow-orange, vivid red and lapis lazuli contribute in individualization of figures Two sections of composition Blue sky signifying day time scene Terrestrial section bustling crowd Implied shape could be rectangular. It is shaped in separate sections in rectangular fashion . Nozze di cana Design Principles: The painting clearly shows symmetrical balance through its entirety people are dispersed in an equal manner. Building are also proportional Emphasis of painting is on the front part, through variety of different unique colors portrayed by people at the event.

He uses boxes to highlight various scenes or groupings Details in the painting is staggering Geometric lines arrange in sharply red. 10 Nozze di cana Explanation of background The landscape in the background terminates in a kind of misty, blue sky covered in day time clouds. Colours become more dull and colourless- aerial perspective. Renaissance artist create illusion of depth in landscape scenes. He effectively uses color to blend into the horizon with a good dimensional representation of birds from a distance.

He also captures a structure unanimous during the renaissance period of architecture. . Sistine Chapel ceiling Michelangelo painting Artwork image (Seymour, 1972). Include citation 12 Sistine Chapel ceiling Visual Elements: Michelangelo’s Frencoes ceiling of the Sistine chapel is one great example of renaissance painiting Uses over 300 figures depicting stories of the book of Genesis Uses bright colors of the frescoes Separated into 33 areas with different scenes In the triangular spaces he panels ancestors of Christ Figures of second section are grander than those in the first depicting drunkenness of Noah The skintones of the figures are pale peach and robes painted in pale pastels. Glowing ball lighting the whole image.

Much of the work is moving –image of disaster and love of a father holding his drowned son . Artwork Title Design Principles: The painting is separated into different segments by use of rectangles Blended frescoes colors are preferred rather than oil paints, creating figures with clear outline The chapel was painted with bright colors that daringly harmonize He understood human forms and was beautifully entity that should be naked or wearing a simple robe He had a keen eye for light and shadows grasped in both shape and volume Each segment was symmetric with emphasis on the human forms through the narrative portrayal Certain scenes were divided unequally in the segments like in creation of the sun, moon and plants.

Use of contrasting images into one panel, that of adam and eve explusion and temptation . Artwork Title Explanation of background Originally the ceiling was painted blue and covered with golden stars. The various segments were from various scenes in the old testament. Warm colors were used in the background. With emphasis on the front storyline.

Renaissance painting used bright colors to its narratives. He created monumental figures that embody both strength and beauty. Blue skies with clouds for example were use to represent the expulsion of Adam and Eve from the garden of Eden in day light. Clear white color for the creation of man by god. Less figurative colours and emphasis was used for the background with less activity happening but emphasis put on the human forms to narrate the scenes. .

Disputation of the Holy Sacrament Raphael painting Artwork image (INTeResTs, 2015) Include citation . Disputation of the Holy Sacrament Visual Elements: The fresco painting is primarily eschatological The use of bright colors is vivid throughout the painting to bring out the human forms and also brightened figure of Christ. He has created scenes spanning from both heaven and earth. The painting guides the viewer’s eyes to the altar. Dispensation of semi circular spaces like an apse, without walls where two assemblies of equal size and dignity reflect and debate on nature of Christ.

Raphael crossed through horizontal line of saints and vertical line of the father, son and holy sprit. He creates lights and shadows with tones of a single color and combines color in a dramatic way. The centre is a series of concentric circles covering the whole fresco. The painting texture is tender and visualizes clarity. . Disputation of the Holy Sacrament Design Principles: Structure of composition is characterized by extreme clarity and simplicity Sketches and drawings contain notable difference in pose Degree of admirable balance and expressive dignity Various linear implied techniques.

Concentric circles of the two worlds are used to bring the contrast of the two scenes-heaven and earth. The colour scheme is polychromatic There’s a touch of mundane in details of feet, sandals and intrications in facial musculature. . Disputation of the Holy Sacrament Explanation of background using facts The landscape in the background terminates in a kind of misty, blue sky covered in day time clouds. Colours become more dull and colourless- aerial perspective. Renaissance artist create illusion of depth in landscape scenes.

Lush green landscaped horizons for the earth surfaces. The heavens are shown with use of blue skies symbolic of magnificence. 5. Christ crucified Diego Velà¡zquez 1632 painting Artwork image (Tiffany, 2012). Include citation . Christ crucified Visual Elements: The work painted in oil on canvas renders texture and fabric without need for further adornment or ornamentation. Painting is marked with confrontational naturalism. Stunning still life elements Sober terracotta tones. Tranquillity and idealistic features of Christ’s body Renaissance is seen in use of chiaroscuro. Rectangular shape and triangular shape use on the crucifix Glowing colors on the head on christ to show his mighty being The painting has no time setting.

The texture invites silence and meditation. . Christ crucified Design Principles: Influence of classism in the work is shown by the overall calmness of the body its posture and idealism. A symmetrical balance which allows arms to form a subtle curve instead of a triangle. Dramatic tenebrism focuses all attention on the pale body. The composition is starkly simple yet vivid contrast between the dark background and the white body Emphasis is on the mood brought about by the painting with is empathy and spiritualism. .

Christ crucified Explanation of background using facts Painting shows the form of an erect Christ with both feet nailed to a foot rest on the cross against a dark background which depicts mystery of incarnation and provides respectful veil of death. Formal Art Criticism Theories Art criticism responds to , interpreting meaning and making critical judgement about specific works of art. Journalistic criticism will be best to describe this type of gallery artworks. They are exhibited in galleries and museums and have complex narratives and techniques applied. Interpretations are persuasive arguments.

Some interpretations are better than others Objects of interpretation are artworks not the artist Interpretations are not absolutely right but convincing, enlightening and informative. Theory for example in the wedding at Cana is subjective to explaining what is happening in the environment. Crowds could be a sign of a gathering or chaos but the mood and use of colors integrated into the painting could help one know if the available objects are significant. 24 Contextual Art Criticism Theory This is theory that considers art as a product of culture and value system. They pay attention to artist expression of a personality or world view.

Artworks focus on artist’s life, his or her cultural, social, economic and political conditions. The reactions are public and critical to the work. The artworks used were of renaissance period set back by the artists era. Contextual may be political economic or social. The artworks chosen are all set on a renaissance society of the European culture.

25 Expressive Art Criticism Theories Expressive theories attempts to discern personal elements in works of art as opposed to formal strategies or cultural influences Such as use of in the Christ Crucifixion where Diego is more experienced in detailing Human form and best expresses artwork by use of the human framework. 26 Comprehensive Statement Art seeks to please people with beauty. Art as the ability to refresh the aesthetic feel of an idea or object. Artworks have the ability to bring positive change-by giving shape and voice to goals we’re striving to achieve Challenges perspectives through innovative thinking. Art pushes controversial buttons and inspire creative ideas Artworks also record information for future reference.

Visual art has a great role in development of society through community engagement Cross-cultural understanding of different societies. Creative solutions to social issues by being a protest tool and an inciter of social change Art criticism theories criticise context of aesthetics by analysing and evaluating works more. Providing an interpretive understanding of a particular work of art through a theoretical perspective. Do not repeat rubric-style instructions such as 'References should include at least 2 scholarly sources...'. Always provide concrete, formatted reference entries in APA style for each source used.

Paper For Above instruction

Religion has historically served as a paramount theme within the realm of art, shaping artistic expression from antiquity through the Renaissance and beyond. Religious artworks are more than mere representations; they serve as visual manifestations of spiritual and moral messages that aim to inspire faith, convey theological narratives, and uphold sacred values. Throughout history, religious art has utilized a wide array of visual elements—symbolism, narrative, ritualistic motifs, iconography, and calligraphy—to communicate complex beliefs and spiritual principles, often tailored to the cultural context of the artist and the patron.

The Renaissance period marked a pinnacle in religious art, exemplified by masterpieces such as Leonardo da Vinci’s “The Last Supper,” Michelangelo’s ceiling in the Sistine Chapel, and Raphael’s “Disputation of the Holy Sacrament.” These works demonstrate how visual elements and design principles converge to deepen the viewer’s engagement and understanding of religious narratives. For instance, Leonardo’s “The Last Supper” employs linear perspective, realistic gestures, and detailed still-life elements to dramatize the biblical scene of Jesus’s final meal with his disciples, emphasizing the moment of betrayal (Goldscheider, 1959). The composition’s symmetry, the focal placement of Christ at the vanishing point, and nuanced use of light and shadow serve to heighten its theological significance and aesthetic coherence.

Michelangelo’s Sistine Chapel ceiling showcases over 300 figures, vividly illustrating stories from Genesis through contrasting colors, composition segments, and human anatomy mastery. His use of vibrant frescoes, segmentation into narrative panels, and skillful depiction of light and shadow exemplify Renaissance innovations in religious imagery. His understanding of human form and the symbolic use of color emphasize divine grandeur and human vulnerability, reinforcing the spiritual messages conveyed (Seymour, 1972). Similarly, Raphael’s “Disputation of the Holy Sacrament” employs concentric circles, linear clarity, and polychromatic schemes to depict theological debates about Christ’s nature, effectively guiding viewers’ focus and interpreting complex doctrines through visual storytelling (INTeResTs, 2015).

In addition to depicting biblical stories, many religious artworks incorporate symbolic motifs. Christianity, for example, employs elaborate iconographic systems—saints are associated with objects that symbolize their identities or acts. An illustration is Saint Peter with keys, symbolizing authority, or the shamrock representing the Holy Trinity. In contrast, Islamic art generally avoids figurative depictions of divine figures, emphasizing calligraphy, geometric patterns, and arabesques as expressions of divine infinity and spiritual order (Honour & Fleming, 2010). Buddhism in India and Tibet features meditative art forms like sand mandalas, intended as aids in spiritual practice, emphasizing ritual and impermanence over narrative storytelling.

Religious art also reflects the geographic and cultural constraints of its era. For instance, Islamic art’s prohibition of figuration results in complex geometric designs and calligraphic inscriptions, serving both decorative and spiritual purposes. Conversely, Christian European art exploits vivid imagery, oil painting, and realism to evoke emotional and spiritual responses. The use of perspective, color, and composition underscores central figures like Jesus, saints, and biblical scenes, aiming to inspire devotion and leave a lasting moral impression.

Critical analysis of these artworks through art criticism theories enhances our understanding of their deeper meanings. Formalist criticism emphasizes the visual elements—composition, color, line, and texture—highlighting how these components serve aesthetic and narrative functions. For example, Velázquez’s “Christ Crucified” employs chiaroscuro and balanced composition to evoke quiet introspection and spiritual reverence (Tiffany, 2012). Contextual criticism, on the other hand, examines the historical, cultural, and social conditions influencing the artwork’s creation, such as the Renaissance’s emphasis on humanism and scientific observation merging with religious themes (Honour & Fleming, 2010). Finally, expressive art criticism seeks personal and emotional interpretations, emphasizing how artworks resonate spiritually or psychologically with viewers (Art Criticism, 2023).

Religious art, therefore, remains a profound reflection of cultural values, doctrinal beliefs, and societal motives. Its visual elements—symbolism, composition, color palette, and iconography—are deliberately orchestrated to inspire devotion, instruct doctrine, and reinforce moral ideals. The enduring appeal of these artworks attests to their power to transcend time and culture, serving as vital tools in religious education, moral reinforcement, and cultural identity. Galleries and museums continue to showcase these masterpieces, emphasizing their role in fostering community, cross-cultural understanding, and social cohesion.

References

• Goldscheider, L. (1959). Leonardo da Vinci: life and work, paintings and drawings. Phaidon Press.
• Hanson, K. H. (2010). The language of the banquet: Reconsidering Paolo Veronese’s Wedding at Cana. Invisible Culture Journal, (14).
• Honour, H., & Fleming, J. (2010). The visual arts: A history. Pearson Education.
• INTeResTs, D. O. (2015). Foot deformities in Renaissance paintings: a mystery of symbolism, artistic licence, illusion and true representation in five renowned Renaissance painters. JR Coll Physicians Edinb, 45, 289-297.
• Seymour, C. (1972). Michel