Artworks in painting from the 16th century - Essay Example

Artworks in painting from the 16th century The artwork and painting in the 16th century provide crucial artwork admirable in the current era of art studies. The 16th century artwork provides an inter-link of the historical past and allows the current to understand the intrinsic nature of the essence of artwork. Paints and artwork are a format of conveyance of information that has been very important in the past and is still very valuable. Picture is worth thousands words. In the past; 16th century photographs and cameras were not present hence new only paintings and artwork facilitated the transmission of the critical data required from each generation to the next generation. To the contemporary student or art -lover, the study of the 16th century artworks indicates exhibits several lessons. While technology has hampered or altered the essence of paintwork through introduction of high resolution camera, the essence of drawing has not been varied to great extents. The lovers of the artwork still have the undying passion for the artwork (Arnold & John, 67). The 16th century painting and artwork in western world, for instance in England, was mainly created for the application in churches. The churches had the artwork and paintings directed at empowering and elevating the Christian faith. An instance is the Pickering Church which had decorations and paintings on its walls. The main goals of the drawings were for devotional purposes and for the facilitation of the teaching on biblical comprehension. Until 15th century printed books were elusive or presence of the handwritten materials was left to a few affluent people in the society. The lives of the saints could not learned from books and considering most people in the towns were majorly illiterate people and thus understanding of documents written in Latin became a problem most people. Latin was the main language used in most biblical teaching amidst a wide variety of lingual speaking groups of people. The parish priest applied the paintings in teaching his flock concerning the bible and on saints in general. Such common types of paintings called ‘Biblia Pauperum or in other terms the ‘Poor Man’s and was considered to act as visual aid in helping the congregation in assimilation of the elementary teachings. Some informed people in the villages helped in teachings the crowds on messages contained in the paintings and thus unraveling the main intrinsic relevance of the paintings. The painting had very synonymous inclusions of exaggerations which were applied in unearthing the data contained in the painting. Fig. (a) inside pickering church The paints exhibited traits such as wicked leaders, assassins, executioners, torturers and other quality by the application of the exaggerations in the paintings. The forms of the clothing’s and adornments of the people were also very notable from the paints. The villagers had the skills to identify between the true message delivered and notable exaggeration entailed in the process (Arnold & John, 67). Fig. b. John the Baptist Martyrdom Fig (c) John the Baptist Martyrdom The narrative sequence outlined in this model paintings were quite challenging noting that trestle table laid on the floor depicted Herod’s feast but eight seated figures were depicted twice. From the painting, the crowned bearded figure communicates the picture of Antiphas while the crowned female represents his bride Herodias. The story commenced by John rebuking King Herod illegal marriage to and from the left side it could be noted that Salome carries a tumble dance. The subsequent part indicates Salome holding the dish and the beheading of John is being undertaken. The paint indicates Salome proceeding towards the centre of the scene and John head is consequently brought to the scene and given the girl who proceeds and presents it to her mother. On the other hand, the typical paintings listed here are important portrayal of the medieval wall paintings. The typical compression and running of the several portions of story in similarly a common scene elevated the relevance of costume. The ritualistic facilitated the inclusions of the story in singular engulfed costume. The characters are hence entailed in simple contemporary costume that enabled the medieval men and their women to consequently recognize the ranks and occupation in the society (Eneas et al, 67). Fig (d) St Edmund Martyrdom Fig (d) St Edmund Martyrdom The life instance and martyrdom of St Edmund is represented under the typical outline from 841-870. He became the king at age of fourteen and Christian background. Around 869 the Viking army which was expanding their territory after overwhelming Northumbria marched through Mercia into eastern part of the Angalia. On noting this, Edmund engaged them in fight that culminated into his death. The version of his death as interpreted all along through drawing showed that he rejected the requirement of renouncing his Christian faith and letting on the power hold on the kingdom . Edmund dissociated from the desires of his captures which gave him ultimatums and Edmund appeared to be ready to sacrifice his life than his Christian believes. From the drawing virtues of Edmund are explained well and entailed blessings (Eneas et al, 67). Fig (f) St George Dragon Fig (g) St George Dragon The paints of St George and St Christopher on the walls of the church indicate some of their memorable activities while alive. Particularly St George became notable as a revered personality in 8th century and became known throughout the era of Edward III which extended along (1312-1377). He became known to the through 15 the century in the reformation he became all well known in England. He was associated with some notable Christian values that were only intrinsic to him alone. He facilitated the intercession for the people involved in the fighting and prayed for peace to overrule. The paintings on the walls exhibit him while thrusting spear into the mouth of a dragon. The painting became damaged appear damaged before however after the restoration of the church Mr Jewitt tried mending it thus completing the scene (Eneas et al, 67). The paints showing Jesus before the Pilate illustrates Pilates seated on the throne while holding a scepter which shows the authority while Jesus is held by an attendant. The paint shows Pilate engraved with a black face. These are some of the issues people in the villager had the roles interpreting to the eventual believers. The paintings indicate the b common people possessing haloes while the people in the authority had the headgear. The paints indicates bad people with hooked noses , evil expressions, swarthy complexion and some other distinctive bad images that would prompt hating of the allocated paints . Clothes proved the other essential exposures of the rank, authority or position. On scourging of Jesus, a man is portrayed wielding while the other man applies knotted or leaded whip. On left of the photo there is an indication of Jesus carrying the cross (Wright & Catherine , 76). Fig. (h) Resurrection of Jesus The resurrection of Jesus is the final portrayal of passion. From the painting we one sees Jesus emerging from sarcophagus holding scepter which shows his regained authority. This paint would have been misinterpreted by the Pickering congregation as Jesus coming from tomb. We also note that angels are present while a guard falls backwards in amazement. The paint also indicates someone standing behind Jesus but clue on who he is quite challenging and one only think would that he is another soldier. In summary, the 16th century artwork and paintings offer critical understanding of the origin of the current model of artwork. The past artwork conveyed lot information and exaggerations was typically applied to indicate notable qualities of the people. As opposed to the current state, 16th century paintwork had critical involvement of the inherent society since other formats of conveyance of information were very limited (Wright & Catherine, 76). Works cited Arnold, John. A Companion to the Book of Margery Kempe. Woodbridge [u.a.: Brewer, 2004. Eneas Mackenzie, Marvin Ross & Mackenzie and Dent, An Historical, Topographical, and Descriptive View of the County Palatine of Durham: Comprehending the Various Subjects of Natural, - Durham (England : County). Wright, Christopher, & Catherine Gordon. British and Irish Paintings in Public Collections: An Index of British and Irish Oil Paintings by Artists Born Before 1870 in Public and Institutional Collections in the United Kingdom and Ireland. New Haven, Conn: Yale University Press, 2006. Print. Read More