When Art Speaks: an Analysis of Two Artist and Two Works of Art

When Art Speaks An depth psychology of 2 Artist and Two Works of Art Wanda M. Argersinger S step forwardhern youthful Hanpshire University When Art Speaks The Italian Renaissance produced many inventionists and even more deeds of artifice, that there were three artists considered to be the Trinity of Great Masters, Michelangelo, da Vinci da Vinci and Raffaelo Santi, or simply Raphael. While these artists often worked in diametric mediums, Michelangelo preferred st atomic number 53 and Raphael preferred oil throet. Michelangelo and Raphael were able to portray emotions in their work.In two of these industrial plant, The Pieta and La bloody shame di San Sisto, these artists were able to bring to works of art the raw emotions felt by their subjects. Though their works are kinda different, what they portrayed was often quite similar. One of Raphaels works called Raphaels Angels (San Sisto, 1513-1514), speaks to me in many ways. I was familiar with these two cherubs in the Sisti ne bloody shame as they are often copied and hung in offices and households. But it was only recently that I discovered that these two smiling cherubs belong to a big work of art.These two well-kn own cherubs are part of a bigger oil moving-picture show through on canvas titled La Madonna di San Sisto or Sistine Madonna. It was a commissioned piece and the last of Raphaels Madonnas. When the cherubs are externalizen alone they are often called Raphaels Angels, The Sistine Cherubs, and Raphaels Two Putti. Most of the works of art during the Renaissance had strong spectral connections and were done for the church building with the intent that it would reside in the church. When we think of this halt in art we most often think of Michelangelos Sistine Chapel.While Raphaels Sistine Madonna is in oil, it was done on a flax covered wall in the Benedictine monastery church and was not permanent. The full movie, The Sistine Madonna, shows Mary holding the infant Jesus, sans halo, with two Saints. The cherubs sit at the real bottom of the picture, roughly out of place. Their cherubic faces and expressions, in my opinion, belie the magnificence and holiness of the rest of the art work. They look puzzled and some(prenominal)what bored, a bit mischievous and not at all reverent.The colors are similar to differents utilize during this effect barely do not contain all the colors used by Michelangelo in his painting of The Sistine Chapel. They are not bright or harsh, but rather muted. There is sparing use of red and blue, but show more use of brown and gold. The curtains and clothes are dark. The images give little shadowing, showing only under the feet of Mary and one of the saints. The lines of the painting show an opened curtain and clouds on which Mary and the saints stand.The cherubs appear to be leaning on a solid surface that is, in fact, the very bottom of the painting, which is the only straight line of the piece. The clothes appear to be flowing, captured by the use of curved lines and shadowing in the folds. The light generator appears to be the clouds which are the brightest of the piece. Personally, it is the cherubs that speak to me, and not the entire work of art. I like the playfulness they show in their eyes. I like the imagination that not all religious work is completely serious and that some fun exists in religion.Intellectually, I wonder what the purpose Raphael had in including them in a Church commissioned work. This work is much like other works of the measure religious in nature, done in oil, and dis contend in a house of worship. No doubt that Rafael was influenced by other artists and the bm in art of the time, and yet from this one work of art, it appears that the artist himself shows his own unique style simply by including the cherubs and their quizzical looks. During this same time period, the famous Michelangelo painted the Sistine Chapel.Though he may be remembered as a painter, he considered hi mself a sculptor and completed many statues during his lifetime. One in particular, his Pieta, (Rome, 1498) speaks to me in many ways. The Pieta is a marble statue of Mary holding messiah after he was removed from the cross. He lies straddled across her lap with her look for down on him with a solemn face and closed eyes. When looking at the piece it would be difficult not to look into the pain of a woman who has lost someone dear to them.Certainly you can see the grief of Mary for the loss of Jesus, but you can also see the grief of many women who have lost someone they love. I am reminded of all women who grieve for the loss of a child. Done in marble, the statue appears to coruscation in places and yet seems darker and in others. The lines capture the image of the human bound and the folds of the clothes Mary wears. The hard stone she sits upon is barely seen and does not discriminate from the movement of the other aspects of the piece. Her face appears shaded under the sc arf on her head, objet dart light reflects off the body of Christ.The statue shows marvelous detail of Christs body including the holes in his hands where he was nailed to the cross. Upon close observance of the statue one can see that Mary does not touch Jesus fur to skin but has a garment under her right hand, era her left hand is away from the body with her palm up. During his life Michelangelo worked for the church under Pope Julius II and for the Medici family that ruled Rome. The majority of his work was religious in nature, as seen in The Pieta and another famous sculpture he did of David.He designed the tombs for the Medici family and also the Medici Chapel. Michelangelos work, along with Raphaels works, follow the works of the time, most being not only religious in nature, but based on the Christian religion and following stories from the Bible. Both painting and sculpting were popular forms of art and capturing the body through use of religious figures played a major pa rt in the subject matters. Whether done in marble, clay, or oil, the pieces of art capture the emotions of life, the human form in almost absolute detail, and the thoughts of society at the time.With Italy being the center of Catholicism and home to the main church, it is no wonder that the majority of the art works during this period are religious in nature. Add to that the fact that many of the pieces were commissioned by one or more arms of the church religion was certainly the major influence on many of the artists. Topalski, Art In Creation, Rapahels Angels, Retrieved from http//www. topalski. com/2012/artworks-in-progress-fine-art-in-creation/raphael%E2%80%99s-angels/ Garden of Praise, Pieta, Retrieved from http//www. gardenofpraise. com/art50. htm