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Compare and Contrast Two Paintings of Jesus

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The painting of the Adoration of the Shepherds of c. 1607–10 by tan Italian artist Domenichino Zampieri. Oil canvas 143 x 115 cm has been in the National Gallery of Scotland in Edinburgh. Baroque Period

Christ Before Pilate (oil on canvas) 417 x 36 cm, Munkacsy, Mihaly (1844-1900) ,Hungarian National Gallery, Budapest, Hungary , The Bridgeman Art Library. Realism Period

The life of Jesus Christ is one that is both fascinating and a mystery. The true origin of when Christ was born is not truly known. This one man’s life is very well documented, both in words and in art. There are many question raised if this truly happened or was a myth created to give the public hope in times of need. The two works of art I decided to use for my milestone essay is the painting of the Adoration of the Shepherds by Domenichino Zamperini (21 October, 1581 – 6 April, 1641) and Christ before Pilate by Munkacsy, Mihaly (20 February 1844 – 1 May 1900). The two paintings I chose to focus on are of Jesus Christ on his life, humanity and his spirituality. I chose these since they represent Jesus' fragile humanity through his infancy and death. These paintings struck me as different from the other religious art I had seen because it represents humanity without losing spirituality of Jesus holiness.
Domenichino created this painting in an oil canvas. The Realism period was an artistic movement that began in France in the 1850s, after the 1848 Revolution (Finocchio 2004). Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic Movement (Finocchio 2004). Domenichino shows the loveliness of humankind with an emotional portrait of The Virgin Mary looking into the state of amazement at child Jesus. The compassion of this most simple and necessary bond between the mother and child is captured in this painting well. It is a feeling that parents can understand, it is able to touch everyone for the reason that everyone will plays at least one of these significant roles throughout their lifetime. The simplicity of human nature at this time period is contrasted with Mary’s robes and the others witnesses that have come to adore Jesus. I believe it point toward spirituality though one could interpret it as something else. This painting was for private adoration for the artist himself, it captured a beautiful moment, and so much more. To represent the divine was the holy light that was given off from Jesus body. The painting from where Jesus is laying we see there is three angels watching from above. Having three angels being depicted in the painting is to represent the trinity the Father, the Son, and the Holy Spirit. Also in the picture you can see a dove being held by a little boy to foresee what is to transpire in the future. I believe, the painting goes much deeper than what is actually presented.
The artist Domenichino Zamperini also known as Domenichino. He was born October 21, 1581 and died April 6, 1641(Domenichino 9). He was an Italian Baroque painter from the Carracci School, he was the son of a shoe maker. When Domenichino left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carracci's supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and alongside Lanfranco, who later would become a rival (Domenichino 9). At the time period of creating religious art it was at the front of painting. Religious art has been around sense the medieval time, though in what style and period the religious art will be represented is left to the artist to decide.
The second piece of art I chose was Christ before Pilate in this painting that is an oil canvas, we see Jesus is nearing his death. This baroque art reflected the religious tensions of the time notably the desire of the Catholic Church in Rome to reassert itself in the wake of the Protestant Reformation (Helen p. 516). Once viewing the painting we see Jesus is calm ready to accept the fate that is to transpire. Unlike Jesus the crowd depicted in the painting is unwilling to allow this injustice to continue, nevertheless one can also see the dark side of human nature in this painting. The emotions in the crowds are plainly expressed in there body language and facial expressions. In the background we see are two men gambling while Jesus is on trial. Jesus spoke against material riches saying “that only those rich in spirit can enter the kingdom of Heaven.” It can also be interpreted that money is the course of necessary evil. If money is the root of all evil and human nature is a result of imperfection than we tend to stray towards evil, this painting takes on a whole new meaning to me. This means that nobody, even Jesus is perfect if he was being a mortal man. What shows the spirituality in this piece is Jesus in a white article of clothing where as everyone is in very saturated rich colors of clothing. Another depiction of spirituality is in the background we see the temple in that time period. It was told in the bible (Mark 11:15) Jesus was upset at the merchants for selling and trading in the house of his father and foretold that the temples vail will crumble. (Mark 15:38) The temple was not destroyed at that time, but the veil was eventually torn. The entrance where the high priests entered to worship was different than the rest of the public. Having this fall signified there was no more separation from God, and it was torn from the top because God ended the separation that man created. In the painting we see Pontius Pilate sitting on a throne, appearing uninterested in the events that is before him. In all four gospels accounts Pilate lobbies for Jesus to be spared from his fate of execution, only when the crowd refuses to change their thoughts on Jesus that Pilate refuses to take responsibly of the wrongful death of Jesus and reclucently allows the execution to procced (John 19:16).
Mihály Munkácsy was born Michael von Lieb to German parents in Munkács (Michael 3).With the help of the landscapist Antal Ligeti he received a grant from the state so he could study abroad. In 1865 he studied at the Academy of Vienna under Karl Rahl. In 1866 he went to Munich to study at the Academy, and in 1868 he moved to Düsseldorf to learn from the popular genre painter Ludwig Knaus. Munkácsy was an over-sensitive person who was always unsure and always questioning his own talent. By the 1890s his depression grew into a severe mental illness which was probably intensified by the syphilis he caught in his youth. His last pictures are troubled and sometimes even bizarre. Having this illness he explored the thought of life and death thus creating the trilogy pieces of Jesus (Michael 3).
The picture of Jesus being born in the manger shows the start of his life. In contrast you have Jesus nearing his death. In both paintings we see key important moments in Jesus’s life. The Baroque painting is a more romantic and over exaggerated motions where it is clearly visible what the emotions are for each subject. This particular art was created to communicate religious themes in direct and emotional involvement. The contrast is the realism painting is to convey the truth without changing the over exaggeration element in the paintings. This type of style try’s to shows life forms in the accurate descriptions in lights, colors, and details. The compare of both painting is that Jesus is illuminated in all white clothing. In both painting he has a crowd of witness around him for birth and trial. Jesus is innocent in both paintings. In contrast in the first painting he is being loved and adored however in the second Jesus is being judged and accused. In the first painting we see Jesus’s angels watching him from above but in the second we see Jesus standing alone waiting the fate to be revealed. Both Painting are saturated in rich colors for the world in which Jesus lived in.

Reference:
“Domenichino Zamperini." Encyclopedia of World Biography. 2004. Encyclopedia.com. 9 Oct. 2015 <http://www.encyclopedia.com>.
“Christ before Pilate” National gallery collection. National gallery. London: The National Gallery, 2009 Credo Reference Web. 7 Oct 2015.
"Michael Munkácsy", Nachruf. Pester Lloyd, Lajos Hevesy, and May 03 1900 Number: 101. 2 http://www.thefullwiki.org
The Holy Bible: King James Version. Dallas, TX: Brown Books Publishing, 2004. King James Version, Mark 11.15
Finocchio, Ross. "Nineteenth-Century French Realism". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm (October 2004)
Helen Gardner, Fred S. Kleiner, and Christin J. Mamiya, Gardner's Art through the Ages (Belmont, CA: Thomson/Wadsworth, 2005), p. 516.

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