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The subject chosen for analysis is the Masaccios Trinity with the virgin, Saint John the Evangelist, and Donors, in the Church of Santa Maria Novella, Florence, circa 145(?). It is perhaps what led to or is part of the artists most celebrated work, the Trinity cycle of frescos in the Brancacci Chapel at Santa Maria del Carmine, though the dates of the paintings cannot be exactly determined. The most striking visual element of this painting is its symmetry, as denoted by the placement of the human figures. Central to the painting visually is the image of a crucified Christ on top of an altar, located in the middle of the painting, overlapping the image of the Holy Father, and the dove representing the Holy Ghost. To either side of the alter stands two sets of figures, with the standing figures presumed to be the virgin and Saint John the Evangelist, while on the step below the two kneeling figures represent the donors. The two sets of figures are placed equi-distance across from each other, along with the image of Christ in the center framed by the perfectly symmetrical background of vertical columns, which extends tightly around the entire painting, through the altar steps. Further more, the color theme of the human figures are uniformly black or red, with the exception of Christ, further accentuating the symmetry. The overwhelmingly symmetrical composition of the piece is the defining characteristic of this particular painting.
The painting is done in 1 x 105 fresco, the technique of mural painting on wet plaster. It is not an unusuall choice for the time period, as Italian patrons generally commissioned murals and large altarpieces for the local churches. Frescos being in great demand oftentimes prompted the artists to travel great distances in order to complete wall and ceiling decorations. Painting frescos however is often extremely demanding of the artist despite its seemly simple premises. The binding material used for fresco is calcium carbonate, or lime quarried from limestone. Mixing the lime with water creates calcium hydroxide, which has binding properties during its drying process. If the color of the pigments were applied before the drying process occurs, the mixture forms a thin film of calcium carbonate upon the plaster, locking the colors underneath the lime-skin as if it is sealed in glass. There are many advantages to painting on fresco, but perhaps most importantly is its long lasting colors. Also the chemical process of carbonization continues within the wall after applying the pigments, hence continually increases the visual unity and luminosity of the work. The drawback however, is that once the paint is applied onto the plaster, it is essentially permenant. To repaint over the fresco means one needs to scrape the wall, and then replaster it on top of the spot. The size of the fresco is also incidentally large, since most murals are commissioned as wall decorations. The piece is also done with little reflections, due to the nature of the theme and perhaps the degradation of the mural through time.
The lines of the painting are precise and often linear, the outline of the figures cleanly defined. While the lines are soft, it is reinforced by the sheer number of parallels, creating a strong and uniform whole that gives the appearance of strength. The colors seem faded as viewed in modern times, giving the painting a soft appearance. That may have been otherwise when the painting was first incepted. However the colors chosen are mostly uniform throughout the piece, the with colors of red and black prominently displayed on its human figures and the background. The figures on the altar are clad alternatively in black and red robes, with the figure diagnoally across having the same color. The image of the Holy Father is also seen to be wearing a robe of black and red. The alternating colors is used to add balance to the composition, strengthening its hold on the viewers attention as the color traverses through the painting. The central figure of Christ is done in flesh tones and white, the exception to the color scheme and is accentuated through its contrast with the predominant background colors. The rest of the columns further out into the background are left most in neutral gray tones, with the various red tones fading into the shades. The painting is essentially grounded on the dark tones, while the red brings a dynamic sense to the scheme, livening up an otherwise plain palette. The coloring scheme of the mural is subtle, yet the choice of colors unifie the composition visually through the uniform and symmetrical distribution of the major colors, Also worth noting is that the red ropes of the male donnor at the left signify that he was a memeber of the governing council of Florence.
In terms of lighting, the painting is predominately light due to the overwhilming amount of the light grey background columns used to frame the central figures, hence it acts as the light souce illuminating the modeling of the figures. However the painting is essentially divided into the central main theme that is shrouded in darker tones, which is used to illuminate the Christ figure that is the main subject of the mural, and the outter columns, which is mostly light to accentuate the inner figures. Hence the inner contrast of the figures are soft and subtle, done mostly through the coloring and shaded in dark tones, and the outter figures are contrasted clearly by the background columns. The form of the figures are a interesting blend of flat and -D. While the form of Christ is shaded and solidly modeled, the others wear robes that are large mono-colored blocks that are vaguely three dimentional and cleanly outlined against the background. The figure of Christ is life-sized, while the Holy Father is larger than life-sized; the praying donors on the other hand are less than life-sized, and the figure of the virgin and St. John even less so. The greatest weight of the mural then, is placed on the figure of Christ, with the robed figures carrying little substance. The painting is set on linear perspective with the horizon line being just above the base of the cross where the vanishing point is centered. The Brunelleschis perspective utilized by the artist was unusual at the time, and the trompe loeil effect results in the viewer looking up into the barrel-vaulted niche, indicating the depth of the painting that is otherwise lacking. The spacing is tightly framed and compressed, with the figures closely centered in the middle, although not in a 1 to 1 relationship. Cheap Custom Essays on Visual Analysis: Trinity WithThe Virgins, Saint John the Evangelist, and Donors
The composition therefore clearly leads the viewer to the central figure of the trinity. The color, illumination, weight, and spacing are all used to accentuate the figure of Christ. The overall sense of organization is hence balance and symmetry, unified by the vertical lines of corinthian pilasters and ionic columns. The balance is further enhanced by the uniform colors of the figures positioned symmetrically from the center in alternating order. The vertically confined composition is thus organized geometrically, creating a integral whole that mixes the -D elements subtly with the flatness of the niche figures and the foreground sarcophagus. The content expresses calmness, with Jesus flanked by the Virgin Mary and St. John, while showing no emotional reaction to the scene. The skeleton on the bottom sarcophagus is symbolically mirroring mans mortality, with the above inscription reading I was once that which you are, and what I am you also will be. Salvation, therefore, can only be obtained through the Christian belief. As the painting is done around 145 in the early Renaissance, such theme was of course not unusal for the time period, as most arts at the time were used to adorn churches and chapels. The overwhelming pervasiveness of Christianity in the western arts and culture as a whole are reflected through this mural, promoting salvation through Christ as the ultimate end of the mortal man.
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