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Contrast The Elevation of the Cross by Rubens with Rembrandt s Return of the Prodigal Son.
Weegy: In the Elevation of the Cross, the figure of Christ is violently straining, countered by the straining figures in the foreground. One figure in the foreground is entering our space. [ The scene is again a frozen moment of tremendous action and drama. The energy and motion in this work is enhanced through Rubens' use of the diagonal line, and the theatrical lighting. Rubens was influenced by Caravaggio's use of tenebrism and chiaroscuro. Christ, while agonizing, looks upward, towards heaven and ultimate peace. The gruesome depiction of the crucifixion follows the Counter-Reformation demand that the viewer be encouraged to identify with Christian suffering and ultimate salvation. The patron in this case was a wealthy merchant and art collector, Cornelius von der Heist. In Holland (the Protestant Netherlands) we have another master of the Baroque period named Rembrandt wan Rijn (1606-1669). Rembrandt was a member of the reformed church, and had strong ties to the Calvinist sect, the Mennonites. In his Return of The Prodigal Son, Rembrandt exhibits the Baroque interest in theatrical light. Light is the controlling element of the composition, illuminating the father and son, while putting three observers in shadow, reinforcing the focus of this biblical passage. Rembrandt, as opposed to Caravaggio, conveys a majestic spiritual quality in his painting and the subject matter. The contrasting light and shade creates a mood of tranquility and silence. While Rembrandt employs the theatrical light in common with the Baroque period, his product is different, instead of a violent or energized composition, we have here a calm, religious theme. The theme of the Prodigal Son is popular in Protestant churches, because it is symbolic of the direct forgiveness of Christ to man WITHOUT any interceder, or intervening figures like Catholic priests through confession. Thus the direct forgiveness of sins without penance is a Protestant theme. The biblical story is ... (More)
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Asked 8/9/2012 5:20:33 PM
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The classical principle of contrapposto, or weight shift, was introduced into Western art by the sculptor__________________. (Points : 1) Ghiberti Verrocchio Pollaiuolo Donatello
Weegy: Classical contrapposto was revived in the Renaissance by the Italian artists Donatello and Leonardo da Vinci, followed by Michelangelo, Raphael and other artists of the High Renaissance. [ One of the major achievements of the Italian Renaissance was the re-discovery of contrapposto, although in Mannerism it became greatly over-used. ] (More)
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Asked 8/16/2012 4:00:32 PM
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The term terribilita is most often used to refer to_________________. (Points : 1) Leonardo da Vinci Michelangelo Raphael Andrea del Sarto
Weegy: Michelangelo. His contemporaries regarded him with awe, and the word terribilità, which may be translated as 'frightening power', was often applied to his work. (More)
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Asked 8/16/2012 4:14:37 PM
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The word Renaissance means re-birth. What was a revived interest during this time? (Points : 1) Hiberno-Saxon Manuscripts Classical culture Islamic culture Platonic interpretation of Christianity
Weegy: 2.The answer is: Classical culture User: How did Masaccio represent bulk for his figures in the Tribute Money? (Points : 1) Through modeling with a specific light source outside the picture Through modeling with a flat neutral light Through modeling with an identifiable light source within the picture Through modeling Weegy: The answer is: Through modeling with a specific light source outside the picture User: In which work of art does Caravaggio’s Conversion of St. Paul present the same dynamic emotion and dramatic religious favor with the use of eloquent pictorial devices and stage lighting in much the same way? (Points : 1) Bernini’s Ecstasy of St. Teresa Carracci’s Flight into Egypt Velasquez’s Water Carrier of Seville Rembrandt’s Return of the Prodigal Son Weegy: The Conversion on the Way to Damascus (Conversione di San Paolo) is a masterpiece by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. [ Across the chapel is a second Caravaggio painting (1600) depicting the inverted Crucifixion of St. Peter. On the altar, is a luminous and crowded Assumption of the Virgin Mary by Annibale Carracci. The dome frescoes are by one of Carracci's apprentices, under his design. The chapel was painted for Monsignor Tiberio Cerasi, who died in 1601 and had been treasurer general under Clement VIII. The commission for Caravaggio (and perhaps Carracci) was apparently secured by his newly acquired patron, Marchese Vicenzo Guistiniani. The painting depicts the moment recounted in Chapter 9 of Acts of the Apostles when Saul, soon to be the apostle Paul, fell on the road to Damascus. He heard the Lord say "I am Jesus, whom you persecute, arise and go into the city" (see Conversion of Paul). The Golden Legend, a compilation of medieval interpretations of biblical events, may have framed the event for Caravaggio. Caravaggio's first version of the ... (More)
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Asked 8/16/2012 4:09:07 PM
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. What describes Michelangelo’s perspective of Baptistery doors? (Points : 1) He called them the Gates of Paradise. He called them the Gates of Florence. He called them the Gates of Pisa. He called them the Gates of Bruges.
Weegy: It is said that Michelangelo thought the doors so divine that he named them the 'gates of paradise'. (More)
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Asked 8/16/2012 4:21:21 PM
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