Many art historians believe that the period between 1200 and 1400 was the beginning of renaissance, the fact is that this period was a turning point in art. From getting away to embracing the Byzantine style, many artists were characterized by painting religious subjects and utilizing a combination of the old with their own new personal techniques. In the following paper I am going to compare and contrast Antoniazzo Romano’s Virgin and Child with a Donor (Museum of Fine Arts, Houston) of c. 1480 and the Master of the Straus Madonna’s Virgin and Child (Museum of Fine Arts, Houston) of c. 1395-1400. These two painting are more than 80 years apart but have some characteristics in common that relate to the Byzantine art style.
Both paintings are …show more content…
While both appear to be influenced by the classical roman style, the use of tracery in Straus Madonna’s frame is appealing to the eye. If we compere Simone Martini’s Annunciation (Siena Cathedral, Siena) of c. 1333 to Straus Madonna’s frame it appears as if the Master wanted to reconstruct and revive the antiquity of such. While Martini’s frame is far more sophisticated than that of the Master they visually appear similar. Antoniazzo Romano’s frame is more calm and simple as the one in Simone Martini Virgin and Child with Saints (Isabella Stewart Gardner Museum, Boston) of c.1321-1325. Both have simple but well adorned frames, they have smaller paintings that are separated from the main art. In the case of Romano’s painting there is a seagull on the top which might signify the purity of the …show more content…
1310 to Straus Madonna’s there is a lack of humanism in both paintings, they are perceived more as of majestic and out of the ordinary. While The Virgin and Child gaze down as if looking at something Giotto’s Madonna seems to be looking into the soul of the one contemplating her. Giotto’s Madonna has a more naturalistic look, while she is more bulky the drapery clings to the body depicting her figure. The painting itself has a feel for three dimensionality and creates the illusion of shadows. The way she is seated in her throne makes the viewer think of her as assertive. The characteristics described above are considered to be the beginning of a more naturalistic approach to art. On the other hand Straus Madonna’s facial features are round and smooth but have no naturalistic skin tone. Her fingers and nose are elongated and delicate as if they could shatter, by looking closer you can see that she has a small mouth and large eyes. By mentioning this we can see that the artist did not apply proportionality to his
Both paintings are …show more content…
While both appear to be influenced by the classical roman style, the use of tracery in Straus Madonna’s frame is appealing to the eye. If we compere Simone Martini’s Annunciation (Siena Cathedral, Siena) of c. 1333 to Straus Madonna’s frame it appears as if the Master wanted to reconstruct and revive the antiquity of such. While Martini’s frame is far more sophisticated than that of the Master they visually appear similar. Antoniazzo Romano’s frame is more calm and simple as the one in Simone Martini Virgin and Child with Saints (Isabella Stewart Gardner Museum, Boston) of c.1321-1325. Both have simple but well adorned frames, they have smaller paintings that are separated from the main art. In the case of Romano’s painting there is a seagull on the top which might signify the purity of the …show more content…
1310 to Straus Madonna’s there is a lack of humanism in both paintings, they are perceived more as of majestic and out of the ordinary. While The Virgin and Child gaze down as if looking at something Giotto’s Madonna seems to be looking into the soul of the one contemplating her. Giotto’s Madonna has a more naturalistic look, while she is more bulky the drapery clings to the body depicting her figure. The painting itself has a feel for three dimensionality and creates the illusion of shadows. The way she is seated in her throne makes the viewer think of her as assertive. The characteristics described above are considered to be the beginning of a more naturalistic approach to art. On the other hand Straus Madonna’s facial features are round and smooth but have no naturalistic skin tone. Her fingers and nose are elongated and delicate as if they could shatter, by looking closer you can see that she has a small mouth and large eyes. By mentioning this we can see that the artist did not apply proportionality to his