Descent from the Cross

In Rubens Descent from the Cross the element that makes the oil on read baroque in nature is that of the attention to detail. Rubens was contrary in his photo, which was a personal part of his art and not defined by the Baroque art period. His bodies in his paintings, though in action or even in repose were depicted although with muscles tone, the muscles seemed flaccid, as is the case in the above mentioned painting. The wounds of deliverer ar Baroque in their depiction beca usance it is the opposite of what previous artistic movements has foc utilise upon.There is the revelation of power in the gathering disciples and in the color palate being earthipulated in the painting the subtle tones and the attention to chiaroscuro is what entrusts the painting a very Rubenesque feel. The viewers attention again is draw towards the bodies albeit muscular, they are not present signs of organic structure fat, they are ameliorate in their grief, and in the area of opposites, this is w hat Rubens wanted to capture the perfect physical structure juxtaposed with very human emotions the god remains paired with humanity.In exact contrast to Rubens depiction of Christs flaccid yet toned body, Velazquez gives the viewer a Christ who hangs somber on the cross. His body is in classic Greek contrapposto his body is aligned in an S-curve. The starkness of the painting the black background, and the contact lens whiteness of Christs body adds to the power of the moment the messiah on the cross. Rubens painting was disorganized with colors, scarcely Velazquez shows restraint in this painting by allowing the moment, and the feeling transcend the painting, by toning down the colors. As opposed to Rubens Christ, Velazquez introduces the viewer to the bodies position on canvas.Rubens engaged different participants with Christs movement off the cross. Rubens has a akin(predicate) piece which is depicting Christ being hoisted upon the cross. Velazquez on the some otherwise hand shows Christ solitary in the painting he endures by himself, which is in itself a great contrast to the jumble of bodies prevalent in Rubens piece. Rubens as well as denoted a lot of muscle mass to Christ while Velazquez depicts his Christ more give care a younger, realistic man Velazquez makes his Christ human with human qualities and while Rubens portrays Christ bleeding the same(p) human sentiment is not shown.Velazquez shows Christ himself grieving on the cross instead of Rubens painting where everyone yet Christ is grieving and this is what makes Velazquezs Christ human. Titian portrays Magdalene in somber tones, that are prevalent throughout the high school Renaissance. The tones and colors used create a mood of reserved trepidation and the facial expression used is that of inquiry. This inquisitiveness is subtle in Titians art, but in certain facial expressions and through the use of color, the look of the characters becomes sometimes inquisitive, royal, or even pens ive. The dark yet vibrant colors employed by Titian exhibit a dreamlike state.The bodies contrapositions to one another(prenominal) serve to pair them, or in other Titian art, the sole character has body movements that puzzle together. What is typical in a Titian painting and Christ be to the Magdalene is not exception, is the muted colors. The Rubens painting The facelift of the Cross is similar in fashion to Titians portrayal. both(prenominal) use excellent color combinations to enhance the shadows in the paintings. The highlights on Christs body in Rubens painting is simply astonishing. The rest of the figures are clad in shadow, especially their faces.The curious counterpoint to this technique is that Titian uses shadow just as eloquently but with different results. Rubens shadows implore the viewer to judge the paintings, the rake the highlighted figure and question why the other figures are caste in shadow. Titians painting also begs the question of the shadows but his po int is more clearly made shadow is consistent with grief. If the viewer takes another glance of Rubens painting they will see that the shadowy figures faces are looking away from Christ in shame while one stares straight at him with wide-struck eyes as if not only in disbelief but in fear.Rubens was unique in incorporating foreground activity in his paintings. In The Raising of the Cross, there a dog in the foreground interested in the human activity (also, dogs are synonymous with loyalty albeit, Rubens wanted to incorporate that idea with Christ). Rubens liked to have the human body in action in a specific setting, as has been the case for the previously analyzed Rubens painting. Rubens painting had an Italian influence with the male body. Just as Michelangelo depicted the male body in supreme subject of humanity based after the Greek forms, so did Rubens want Christ to resemble those same perfected bodies.Titians painting does not do this, but instead, like Velazquez focuses on Christs humanity. Rubens had elements of other artists involved with his paintings such as the Caravaggio technique with light, making Christ the holder and light attraction in the paintings, highlighting his person and shadowing the rest. Also, the painting is a hubbub of activity which is reminiscent of Tintorettos work canvases. The bodys of Rubens artwork seem to be bursting from the canvas, not only because of their muscle mass but the activity they are accomplishing and the fact that Rubens did not allow the edge of the canvas to dictate the end of action.One mans body is cut off, lost to the edge of the canvas just as on the other side another man is constructed in similar fashion. This is not seen with Titian, even though he takes the body in asymmetric alignment with other points on the canvas. Rubens focuses his bodies in a diagonal axis in order to distribute action throughout the canvas. This is another point where Titian is different his action does not give way for di agonals. Works Cited Sporre, Dennis. (2008). The Creative Impulse An Introduction to the Arts. 8th edition. Prentice Hall.