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ARTI INSTITUE OF CHICAGO
Landscape with the Ruins of Castle of England
The color usage, odd balance, and setting of the painting compel the viewer to experience a mixture of feelings. The picture is very dark and gloomy especially with looming overhead clouds. The weather seems to parallel the castle's broken stature. The singular remaining tower stands prominent in the skyline above the rolling hills and trees, yet it is still crumbling. There are subtle things, like the shepherd and flock, and the house in the distance, those add to its overall effect. You are drawn in. The artist leaves just enough of the structure so that you can imagine what the castle once was.
The Old Temple
Even though the piece is entitled after the main building that is presented, it seems that the people and their separate actions are the main focus. Even though the people are small in size comparison to the temple, the people are more modern in contrast to the temple which seems to be more old-fashioned. The artist uses color to show the age of the temple. In order to concentrate on the temple, the viewer must view the piece from a distance. After seeing from a distance, the viewer will notice the broken pillars, hole in the ceiling, and statues that seem to need much repair. Even with all these repelling details there still seems to be much balance.
The Fountains
This painting, like the above, has a subtle blend of modernity and relic. The arches and the sculptures are ancient. Yet the people are modern. The balance of color is obvious in the way the fountains are portrayed. Not like the Old Temple the piece allows the viewers to concentrate solely on the fountains at a close distance.
Armida Abandoned by Rinaldo
The background colors are somewhat light and subtle. This allows for the bright colors of the main characters to shine through and be emphasized. The colors are very rich and very much in balance. The most color is present in Rinaldo, who seems to be the main character. Within him there seems to be a struggle. The two soldiers are urging him to the boat, and although he seems inclined, he is still held back. Armida is woefully pleading with him to stay. Her exposed thigh is good-looking, and it seems that Rinaldo is concentrating on her thigh rather than her. Even though Rinaldo is being urged to depart, it is obvious his focus is on Armida's thigh. Since the focus is upon Armida and Rinaldo they are portrayed in the brightest colors.
The Resurrection
Storytelling seems to be essential to the development of this work. The distress of the soldiers and the triumph of Christ over the soldiers is the main part of the story. The movement of the painting seems to be outward toward the viewer. Also, a very subtle action that may be passed by is the action of the angel. The angel seems to be pointing at Christ in a sign of warning and informative. He seems to be saying Christ is the way and don't reject him as the common people did. The whole work seems to portray the splendor of Christ. Overall, this painting seems very real.
The Assumption
There seems to be much movement in this piece. However, it's in unity upward. The common people are looking up at the Virgin. The angels are looking at Mary and even Mary is looking up. In addition, to all of this, the Virgin is standing on top of the moon. As for color, there seems to be an almost symmetrical balance. There is also a heavenly light that shows forth on the Virgin. The use of balance in the coloring captures the viewer and allows the viewer to then notice and observe the other important details.
Saint Martin and the Beggar
The greater part of the painting simply is Saint Martin and the Beggar. The deep blue clouds provide contrast for the white coat of Saint Martin's horse. The bits of light that pierce through the clouds are strategically placed around the head and shoulders of St. Martin. All these things serve to draw in the viewer. The viewer sees how generous St. Martin is and the appreciation of the beggar. St. Martin's act of sharing his robe with the beggar portrays the heart of St. Martin. However, the beggar seems to show a weird amount of strength in the presentation of his legs. As a matter of fact, the piece is contains a lot of "leg". All of the legs from the horse to the beggar seem to be particularly strong. The beggar is thankful, and looks at St. Martin with admiration and wonder. While St. Martin is almost indifferent, yet still graceful, he kindly looks down on the beggar.
Salome with the Head o John the Baptist
The colors in this painting are very dark. The amount of light that is present serves to emphasize key features. The boy is struggling with the immense head of John the Baptist. Again, the head of John gives off a light. The head of John, however, is still monstrous and insipid. This feeling is augmented by the fact that Salome seems almost indifferent, but satisfied. She is finally able to view the outcome of her actions. The light in the rooms that seems to have no originating point indicates a Divine presence.
The Head of Saint John the Baptist brought before Herod
The main point of the painting is of course the head of John of the Baptist being brought to King Herod. All the faces are concentrated toward this point. Even the man who is exiting has his head turned half away to see the action. From the faces of the people involved it is clear how disgusted they are. The view can see this and is inclined to feel the same way. However the viewer is only inclined. The painting does not totally lack perspective, but it is clear that not all the elements are proportional. Light is radiating from the head of John the Baptist which indicates the heavenly spirit present in John.
Saint John the Baptist Entering the Wilderness
In the piece appear two Johns. One John seems to be at the beginning of a path, and the other seems to be entering the wilderness. Again, John has a halo like light shining from his head. This again points to John's blessed state. The colors seem to get darker as he comes nearer to the wilderness. The largest furthest mountain is also the darkest in color. The rocks of the wilderness are pointed and rough. This painting lacks some perspective. Although most aspects are done with lines, in both places John appears the same size. This guarantees that in the piece John is the main concentration. This non-variation of size places much attention on John.The colors used to represent John and those to represent the wilderness show the view of the danger that is before him, but they also show that he will prevail.
di Paolo vs. Baroque
The Baroque is large and almost engulfs the viewer. There is only one event upon which the viewer may focus; Salome and John the Baptist's head. Perspective is present throughout the painting. It, as is typical of Baroque art, is striking and dramatic. The apathetic expression of Salome, the surprised face of the onlooker, and the grotesque head of John all depict the same point. The use of light, again, adds to the effect. Unlike the Sienese, the colors are dark, poignant. Yet still the effect is the same; the viewer is drawn in. The feelings brought forth from this painting are much stronger and more powerful. Thus, the ultimate goal of the art is achieved.
The most striking difference between these two paintings is how they deal with the presentation of the head of John the Baptist. In the Sienese painting, the entire group is implicated. The entire group feels remorse. However, in the Baroque only Salome is implicated. The viewer is only shown her reaction and the reaction of a girl to contrast. These differences are probably due to the individual purpose of each painting. The paintings of Giovanni di Paolo and Guido Reni deal with the same subject matter, but are incredibly different. The differences indicate the different artistic movements to which the paintings belong.
The di Paolo painting is from the artistic movement knows as the Sienese Renaissance. Art, in this period, had a different purpose than in the Baroque. This art was usually commissioned by private citizens as a means of showing wealth and power. Baroque art, the period which Reni emerged, was used by the Catholic church to spiritualize the common man. Although the paintings are separate the both contain similarities.
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