Artemisia Gentileschi's Judith Slaying Holofernes

Artemisia Gentileschi painted Judith Slaying Holofernes during 1614-1620. It is oil on canvas and found in Galleria degli Uffizi, Florence. The painting could be considered as "dark" subject matter which Caravaggio favored. The significance of this portrait is the narration involving a heroic woman. It was favorite theme of Artemisia Gentileschi. The story depicted in the painting is from the book of Judith which relates to the delivery of Israel from the Assyrians. The Assyrian general Holofernes was capitulated by Judith's charm and invited her inside his tent for the night. Along with the help of her maidservant, Judith beheaded Holofernes when he was sleeping. The sword was substantial because it required entire strength of two women to wield. Blood streams are running from the bed sheet and to the floor while the women are cutting off Holofernes' head and the struggle through the slaying is perceivable in the hand movement of Holofermes. The contradiction between red bed cover and pure white bed sheet shows the cruelty of the scene. Tension is tangible within the atmosphere and through the expression of Judith and maidservant. Also the drama is heighten through the highlighting on the major action. The immediate contrasts of light and dark exhibits the effect of dramatization. The artist's unique portrayal of Judith is inconsistent to portraits of other artists, but the incorporation of drama, lighting, and coloring is typical of the Italian Baroque period.

David was Renaissance statue of biblical hero which was sculpted by re-owned artist such as Donatello, Verrocchio, and Michelangelo. Bernini also painted the biblical hero, David, in 1623. Although all of this artist have sculpted David, they all show different aspect of the battle between Goliath and David. While Donatello and Verrocchio show the victory of David, Michelangelo portrays David before the starting of the battle. Contrasting with the other artist, Bernini's David represents the combat itself. The element of time play a critical role in Bernini's expansive and theatrical sculptures. It is observed in David through the split second of maximum action. David is shown launching the stone while his muscular legs wide apart and firmly planted providing him the required balance for the pivoting motion. Also there is a bag full of stone around his hip which suggests he thought the fight would be lingering and grueling. The dramatic pose of David intrudes the viewer to think critically. The action showed in this painting requires space around it and different from the Renaissance style. David's pose and attitude direct attention toward the unseen Goliath. The visible tension on David's face escalates dramatic impact of Bernini's sculpture.

Albrecht Durer's Fall of Man

Albrecht Durer painted Fall of Man (Adam and Eve) in 1504. It is engraving and kept in Museum of Fine Arts, Boston. The training as a goldsmith from Durer's Father was developed in handling the burin, the engraving tool with an extraordinary proficiency. This portrait was first distillation of Durer's studies of the Vitruvian theory of human proportions. It was a theory which was based on arithmetic ratios. The figure of Adam and Eve are clearly outlined against a northern European Forest as a dark background. Durer's concept of "perfect" male and female figures, systematize sets of ideal human proportions in balanced contrapposto poses, were represented in the final print. However, he modulated his concept with naturalism by exhibiting his observational skill with the background animals and greenery. The animals, cat, elk,rabbit, and ox, represent humanity's temperaments based on the "four humors" developed by the ancient Greek physician Hippocrates. The animals populating the portrait are symbolic. For instance, the tension existing between cat and mouse symbolizes the relation of Adam and Eve at the crucial moment, intending to bite the apple, in Fall of Man.

Money-Changer and His Wife by Quinten Massys

The portrait was painted by Quinten Massys called Money-Changer and His Wife in 1514. It is an oil on wood technique.The details of figures and objects are presented by the artist suggest authenticity and observable facts.  This painting shows the shift of Christians from religious duties to pursuit of wealth, which was becoming a prominent part of 16th-century secular life in the Netherlands. It shows the man scaling and weighing the coins on the table. The shift is observed in the actions of the wife who is more interested in the observing her husband weigh the money instead of reading her prayer book. The various religious symbols present in the picture are neglected by the couple and solely focus on money. Not only the couple, the reflected image of an old man in the convex mirror converse with another man, which could be referred to gossip or foolish chatter. Inscription in the church steeple behind the old man reads, "Let the balance be just and the weights equal" had tipped towards the pursuit of wealth for the couple in the portrait.

Michelangelo Buonarroti's Creation of Adam

This portrait called Creation of Adam was created by Michelangelo Buonarroti in 1511-1512 in Rome, Italy. It shows the confrontation of God and Adam in primordial unformed landscape of which Adam was a material part. Lord wrapped in cloud of drapery and borne up by his powers, overshadowing the earth. The mighty hand of Lord sparks life into Adam through his extended hand. Classical myth, communication between god and heroes, is noticeable. The Olympian sense of God as a ruler of Heaven indicates High Renaissance thoughts combined with classical and christian traditions. There are two beliefs about the woman beneath the Lord's left arm. It was initially thought to be Eve, but now it is thought to be Virgin Mary with Christ child at her knee. If it is believed to be Virgin Mary, it suggests Michelangelo incorporated one of the essential tenets of Christian faith. The belief of Adam's original sin eventually led to sacrifice of Christ, which in turn made possible the redemption of all humankind. The focal point of the painting is where the fingertips of Adam and God is located. Everyone is looking toward the fingertips of Adam and God which makes the audience concentrate on the focal point. Also Adam's left hand's fingertip is horizontal to the Christ child. 

Leonardo da Vinci's Mona Lisa

Mona Lisa by Leonardo da Vinci is considered the most famous painting in the world. It is a convincing portrait of an individual. Unlike most painting of secular painting, this portrait does not symbolize the social status of the individual. Mona Lisa does not wear any jewelry or hold any hallmark that represent wealth. It is persuading presentation of an individual. She sat quietly with her hands folded and a gentle smile on her face. Her gaze is directly at the viewer, while it was considered, during renaissance, that a woman should not look directly into a man's eyes. This portrait engages its audience due to this self-assured woman without any trap of power. Mona Lisa is an enduring appeal because of the background of a mysterious uninhabited landscape. This painting was painted in 1503-1505, oil on wood, and appears darker than the original painting. The atmosphere creates a distinctive mood and shows different perspective of Leonardo da Vinci. Also Mona Lisa reveals Leonardo da Vinci's fascination and skill with charcoal. This portait is prime example of Leonardo da Vince's famous smoky misty haziness through his subtle adjustment of light and blurring of specific planes.