‘Miracles of the Loaves and Fish’ compared with ‘Virgin and Child with Angles’
The artwork that has been presented in the ‘Miracle of the Loaves and Fish’ and that of the ‘Virgin and Child with Angles’ have both similarities and differences. In this case, the ‘Miracle of the Loaves and Fish’ by Sant’Apollinare is an art that has been presented to show the compassion and care that was shown by Jesus as he was ministering the gospel of truth and reconciliation. On the other side, the ‘Virgin and Child with Angles’ is a highly recognized paint among Paris’ believers. In the artwork, there is display of vestments and gold items, as well as crowns. Exhibited is a cross, offered to Haile the former Ethiopian emperor and a reliquary given by Napoleon. Notre-Dame is particularly arrogant of its remnants of the correct Cross, and the Crown. The two artworks have been presented to show the act of compassion since both have the theme of care and generosity. In addition, the art works presented by the two artists brings an ultimate conception about kindness and care for the people within our environs. The first recognizable similarity comes where the two pictures lack the element of realism in them. For instance, in the ‘Miracle of the Loaves and Fish’, Jesus wears the majestic purple dressing gown; the measurement is more superficial; the gold environment appears as a screen such that there are fewer orientations to the physical world. On the other hand, the virgin is in a unique posture while holding the baby. It is with direct composition of the divine Virgin, whose appeal is altogether mortal and deceives nothing about the virgin’s nature. She is detached, self-possessed and aware, with the baby’s charisma on her lap fading away somewhere amid hesitation and burden. Thus, this gives her poor relation with the physical world. There is irony that has been presented in the two art works whereby, the artwork meaning does not relate to the point of view. The first object we become aware of is how easy the masterpiece is, and how tiny stuff seems to be occurring. Two of the apostles seem to be holding the fish and loaves, but there is no implication of movement, of receiving or giving. Jesus’ signal gives the impression of blessing, but he is without a doubt not paying concentration to both the apostles and the food. From a clear perspective, Jesus and his disciples are looking at us. In as much as the artist wants us to see the point of generosity that is being portrayed in the ‘Miracle of the Loaves and Fish’, there is lack of happiness in the picture. There is the element of pity and worry that is seen in the faces of disciples. However, as viewers we may conclude that the disciples were worried about how Jesus would feed the five thousand people with five loaves and fish. However, there is another depiction of their worry, and this concerns the dissatisfaction that people have even when there is proof that their needs will be fulfilled. As the name suggests, the virgin and the child gives us an ironical understanding of how the holiness of things might result to the opposite if there is confession. This is because it would be ironical to associate a virgin with children for she has not yet been involved in sexual affairs. In other words, there is evolution of the theme of hypocrisy among the church believers during those times. Therefore, the two artworks have displayed the two similarities in the way they have contrasted both their perspective and the viewer’s perspective. The other similarity comes with the royal presentation of the artworks whereby gold has been used to show the wealthy status of the era. In the ‘Miracle of the Loaves and Fish’, the dressing of Jesus and the four apostles is not of the way we would expect people of the first century to wear. This is because Jesus wears the majestic purple dressing gown; the measurement is shallower with the gold surroundings. In addition, they are dressed as aristocrats in the seventh century Byzantine royally court. There was little consideration of division of Cathedral and State of which it is a concept that has been realized very recently in the history. Despite the fact that it is correct that the Emperor and the elders of the Church frequently craved for supremacy and power, it is also apparent that both were perceived to represent Christ, and mutually they were obligated with nourishing, governing and protecting all their natives by training them. However, it is conspicuous that there was no effort to portray Christ and this occasion as something in the history. Furthermore, the influence of Christ at a certain instant in the past has been presented in authentic nature presently, and in the entire time. With the dressing code of the virgin and the child, the attire is extravagant and smartly designed to show her structural feminized shape. She is shining, unblemished and almost transparent. Her light glow is a stylish distinction with the vibrant, fleshy angelic multitude at her side. This Christian cryptogram of Heaven, of course, had conventional early development as signs of adoration. The painting of the Virgin is thought to be reproduction of Sorel, a preferential mistress of Charles. Sorel’s brainpower and astonishing gorgeousness is perceived to have been counterbalanced by, in the estimation of her adversaries, extravagance and unwarranted power on the emperor. She died suddenly, perhaps having been disillusioned. Therefore, “the similarity that exist in both the painting comes with the royal character of dressing and the environment” (Siegel 132). The contrast in the paintings comes with the issue of the author’s intention. The actual view and the intention of the author in the ‘Miracle of the Loaves and Fish’ are clear. This is because it possesses a clear theme of sharing for the items to be apportioned are present. This phenomenon brings predictions about the Eucharist, and it facilitates the understanding that the presence of Christ’s blood and corpse. It is ought to nourish the people and make them be like what they were receiving: by letting Jesus give to them, they are thereby given the power to give to other people. In a situation where a whole church looks altogether at this painting as they celebrate this feast, it cannot probably be perceived to be individual empowerment, but also universal nourishment. Hence, this painting of ‘Miracle of the Loaves and Fish’ gives a biblical meaning in contrast to that of ‘Virgin and Child with Angles’. In addition, the virgin painting brings unclear issues that surround the motion that is presented by the picture. The subject about a virgin having a baby presents an ironical scene, which gives the viewer an argumentative perspective about the painting. Symbolism has been used to contrast these two paints because they elude different perspectives in the viewer’s mind. The image created that is brought about by the ‘Miracle of the Loaves and Fish’ creates just the same image in the bible about the character of generosity and care. The painting has also a clear distinction of Jesus as the leader of the disciples hence the submission and obedience of the disciples to Jesus is seen in the paint. However, the image created in the mind by the ‘Virgin and Child with Angles’ is dishonesty and hypocrisy. For instance, ever since the Byzantine era, the reputable theme requires her stare to articulate the wonder and passion for her child. However, she draws concentration to that completely rendered outline above the child. This brings the question “whether it is an important basis of religious sustenance or a worldly wise basis of appeal?” (Gardner, Richard and Fred 56). Hence, it does not bring forth the actual meaning presented by the images in the painting. Therefore that art woks presented by the two artists brings a concluding notion about compassion and care for the people within our vicinity. This has been done through the action of the Virgin offering love and care to a child in whom she has not given birth to. In addition, the action of Jesus and his disciples also show compassion that has been portrayed in the picture through offering
loaves and bread to the hungry crowd. Therefore, the issue of care for the needy has been presented in both paintings correctly. Works Cited Gardner, Helen, Richard Tansey, and Fred Kleiner. Gardner’s Art through the Ages. Fort Worth: Harcourt Brace College Publishers, 1996. Print. Siegel, Jonah. “The Public Art Museum in Nineteenth Century Britain: the Development of the National Gallery (review).” Victorian Studies. 49.1 (2007): 132-133. Print.
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