top of page
  • brockjones637

Religious artworks

The historical loss of the female narrative and a lament to the barriers that grew from religious interpretation , a double edged sword for the female.

Starting with mining the vast catalogue of religious art for inspiration. The possibilities of an artist to change a scene to suit emotions and messages to share with the viewer.

Mothers nursing and cherishing there babies is a constant factor in motherhood.

This was the central panel of a large altarpiece made for the church of Santa Maria del Carmine in Pisa. The Virgin’s sturdy form, which looks similar to contemporary Florentine sculpture, casts a shadow against the carved throne. Christ’s body seems fleshy and three-dimensional; Masaccio has done this by showing how certain areas catch the light, painting them with a lighter tone. His ability to represent holy figures as though they were human was innovative and influential.The wavy pattern on the throne step is not purely decorative – it’s supposed to bring to mind Roman marble tombs (sarcophagi). The black grapes that Christ eats had another meaning too: they recall the wine of the Eucharist, consumed along with bread in remembrance of Christ’s body and the blood he shed at the Crucifixion. A panel showing the Crucifixion was probably placed directly above this painting; this vertical arrangement of images spelt out the Christian message of salvation through Christ’s death and its remembrance. Despite its clear theological message, the way in which the Virgin looks at the Child – as though with sadness at the thought of his future sacrifice – brings psychological realism to the image, another of Masaccio’s influential innovations.

Early Renaissance painting of Mary breast feeding baby Jesus. Looking at how iconography is used to convey messages to the viewer Jan Van Eyck was famous for using iconography within the background elements of his portraits. The small lion statues, for instance, is a reference to the throne of Solomon, strengthening this painting’s religious connection.Iconography: Clothes: Typical for northern Renaissance, Mary is covered from head to toe in lavish clothing that does not coincide with the traditional Mary in the Bible, who gave birth to Jesus in a manger. Mary’s clothes also spread out towards the bottom, invoking the image of a triangle and a structural base for Jesus. Four lion statues: A reference to the story of Solomon. Fertility: Representing motherhood and childbirth, paintings from this time often had to be optimistic because of childbirth complications. The two eggs on the windowsill are surely a sign of fertility and the bowls and vases represent abundance and health. Chair: There are two depictions on the top of the chair. On the right we see an image of a lion/dragon. On the other side is a depiction of a lamb which is an obvious symbol of Jesus. Fruit: Christ holds a piece of fruit, probably representing the Fruit of Paradise – the apple eaten by Eve.

Cima Conegliano 1518 The Virgin and Child

Traced the Virgin and Child to develop a lino print.

Printed with acrylic paint . added glitter to Mary as a modern material.

The concept of changing the media from a painting to a lino cut does not really work as potential subject matter. It does not change the communication or the narrative of the image or push it in a different way.

4 views0 comments


bottom of page