Mary Beth Hurt

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    Julian of Norwich, in her Revelations of Divine Love, synthesizes the asceticism which had permeated the Roman Catholic Church from its earliest history with the philosophical advancements made by Saint Thomas Aquinas only one hundred and fifty years before her. She does this seamlessly and almost certainly unintentionally, demonstrating that the philosophical developments of Saint Thomas Aquinas were familiar concepts to her such that they shaped her mystic religious view. Despite the…

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    The painting, “Madonna and Child Enthroned with Saints”, also known as, Colonna Altarpiece, is an Italian renaissance painting completed by Raphael in 1504. The altarpiece is painted on wood with oil and gold and its main panel is 172.4cm by 172.4 cm and depicts a woman sitting in a throne like chair in the middle third of the painting. She is dressed in a red dress covered by a black cloak with white spots, which covers most of her body from her hair to her feet. The folds in her cloak are…

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    Many truly don’t know the complete meaningful definition of the word passion. Passion in the dictionary is a very vague and simple definition. The definition defines passion as a strong emotion. There are many strong emotions out there in the world that the word passion can be confused, or can be used in the wrong context. It seems like people have taking away the true meaning of passion. People have overlooked the word and substituted the definition with a definition that will never truly…

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    Drama Responding Analysis

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    has been locked up ever since she has passed. Mary wants to know why no one has taken care of the room and why are there plants being grown inside? The final element I chose is voice and movement. Voice and Movement are drama elements means “the expressive use of the movements of the body and voice to shape the dramatic action” (Dinham, 2011) the actress who played Mary is of an English descent, so she didn’t have to change her accent to portray Mary who is also of English descent. Mary’s…

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    The CALLING Saint Catherine Laboure and Ricardo Cardinal Vidal have something in common - they were called by God in different circumstances. Their responses were independently distinct, but had concordant results. When the angel of the Lord awoke Sister Catherine that eventual night in 1830 with these words, “Come to the Chapel, the Blessed Virgin is waiting for you.”, she gave a willing response. Afterwards, she encountered the Mother of God in the chapel, seated near the altar. During…

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    the same leg in both painings. They are also surrounded by many different people in each painting. Duccio made Mary elegant. She is regal and light weight. This Mary feels as if she were royalty that we adore but cannot touch. This Mary does not have depth due to lack of shadowing. She feels flat and wafer thin. Mary turns her body so that her knees are parallel to us. This has Mary taking up a majority of the center of the painting. Duccio…

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    1425-1428, oil on oak) in this painting. Of course, mainly because Rogier van der Weyden was a student of Robert Campin. But in my opinion, there is this very similar spirituality that is laid down on both paintings, and it was something that Robert could teach Rogier, it was something they both had (and possibly what established their connection.) In “The Mérode Altarpiece” “the smallest details are meticulously worked to reflect reality on a two-dimensional plane. Illusionistic effects are…

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    Figural Painting Analysis

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    to the viewer. The painting now speaks for itself in the ways in which the artist chooses to paint the intended subject. Now we see clear figural depictions of important people in the catholic faith, which in the case we concluded to be the Virgin Mary and her son,…

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    Anne”, there is peculiar detail of Mary sitting upon the lap of St. Anne, this is peculiar not because of the action itself but its meaning, which as far we know, which is that there is none. But their placement is intentional, if we look upon St. Anne right arm is obscured by Mary’s, but…

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    considers the details of both Mary and her baby’s garments, where the lines soften to show fluidity in the falling folds of the jewel-tone garment fabrics, another clear indication of Duccio’s work. Using color and light, the artist then draws attention to Mary’s gaze in this painting, by brightening the tone of Mary’s skin on the bridge of her nose and slightly in her cheeks. It’s then that the viewer can see and begin to sense the strong connection, the maternal bond between Mary and her…

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