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I have a question for which I have no answer: The painting above by Fra Angelico is one of my favorite paintings of a favorite artist: I love the tenderness with which the saint is freeing Hermogenes, love the mass of roiling devils behind; I also love the way all the forms are painted: To me it is an altogether satisfying painting.
But, in the catalog for the great Fra Angelico exhibition at the Met ofI read The magician Hermogenes summoned devils to ensnare Saint James, but the apostle turned them on Hermogenes instead.
The devils bound Hermogenes, but James ordered him freed as an act of Christian charity, and offered him his own staff as an amulet against the demons. Knowing this story adds another layer of emotion to the painting. Petrus Christus, The Lamentation, ca. The sense of grief in it is overwhelming, with each portrait a sensitively depicted individual.
The curve of the swooning Virgin's body repeats that of Christ, and the rhythms of arms in the surrounding figures emphasizes those curves. There is ordinariness too, in the few tools lying on the ground and the distant figures walking toward the walled town.
Being Jewish, my understanding of the New Testament is very rudimentary, but even without knowing each character's role, I sense the power in this painting.
There is information on the museum website that for me is extraneous to my experience of this work: Intended for private devotion, this emotionally charged painting depicts the Lamentation according to the Gospel of John. It includes both Joseph of Arimathea and Nicodemus, who lift Christ's dead body by his head and feet, while Mary Magdalen and John reach forward to support the swooning Virgin.
Mary's pose, which echoes that of her crucified son, alludes to the themes of compassion and redemption, wherein the Virgin empathically feels Christ's torment and shares his role as Redeemer.
Sultan Muhammad Nur, Page of Calligraphy, early 16th century; ink, opaque watercolor, and gold on paper.
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What about cultures farther from, and less familiar than, the European? Is it wrong for me to find simple beauty in the flowing letters and their placement on a page? Is it diminishing the work to see it in such an abstract way?
On the Met's page for this work it translates the text; the sura Al-Fatiha is the first chapter of the Koran: Whosoever sees the Sura-i Fatiha of your face Recites: For there is no possibility of increase in your beauty. Calligraphy by Karasumaru Mitsuhiro This scroll has a perfect balance of image, space, and calligraphy; as the bird soars upward, the words reflect a watery movement.
Not knowing a thing about the poem, I respond to the lyrical forms and the elegant use of empty space. On the page for this work at the Met's websiteI learned that the bird is a grebe, "sometimes seen and honored, sometimes invisible and neglected" and is a metaphor for the life of a courtier.
Here is the poem: Bobbing up and down the grebe makes its way, indifferent as to whether it is seen or hidden. Carpenter Knowing of this metaphor certainly changes the meaning of the work, yet for me, it is still the formal elements——of line, form, space——that mean most to me and somehow touch me.
Is it more difficult to respond to paintings with stories that are totally unfamiliar? In the case of Indian religion and mythology I know next to nothing, but how I love the paintings!
The color, the clarity, the careful attention to detail, simply thrills me. After doing a little research for this post, I found out that when Krishna was young, he could be rather naughty, so stole the clothing of young milkmaids gopis when they went bathing.
The outlines of this charming story are very clear in the painting, but the effect of the delicacy of color and form goes beyond a simple tale to leave me exhilarated. So much of African art is ceremonial and religious, beyond my everyday knowledge.By employing narrative my learners would develop speech, senses, emotions and motor skills.
ing that can be metaphorically represented in an art form. The use of the arts as a base for introduce collective nouns. Using narrative, my learners showed an understanding of the concepts introduced and also we shared our experiences of being.
appropriate work of art that use narrative correctly and coherently. 4–3 points Response demonstrates limited knowledge and understanding of the question. The student identifies two appropriate works of art that use narrative.
The identification of these works may be incomplete, implied, and/or contain errors. This module therefore encourages the interdisciplinary study of the history of art and dress/textile history in the humanities.
It aims at furthering students’ ability to look at clothes as well as art while forcing them to think in more nuanced ways about the material world and people’s relationship to it. Understanding the way in which the panel relates to the Bible story requires the beholder to retell the story to himself.
This act of recollection is itself a narrative. The figures that refer to this narrative are not a narrative in themselves.
Dewey’s demonstrations of implicit inquiry in the creation and experience of art. Motivation, methodology, outcomes and literature review take on a narrative char- acter and I show how aesthetic and reflective activities contributed to the inquiry.
Alyssa Iannotti Art of The Moving Image Narrative Essay November 28, The Butterfly Effect Narrative form is simply “a type of filmic organization in which the parts relate to one another through a series of casually related events taking place in time and space.”.