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Pompeian Painting Analysis

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Pompeian figural paintings and Early Christian paintings were quite different when compared with one another. Within the Villa of the Mysteries, there is a Pompeian painting called, the "Dionysiac Mystery Frieze." It is believed that the scene depicts a woman and her initiation into the cult of Dionysus. Within this cult, certain rituals were to be performed for membership. There is another school of thought, which describes this painting as a woman who is about to be married, going through a particular ritual for marriage. The textbook describes this painting as an illustration of "mortals (all female save for one boy), interacting with mythological figures" (Kleiner 190), thus demonstrating the probability that this is an initiation into
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The painting has a light and smooth finish to finish to it, and at the same time the bold outlines of the male figures appear like a sketching. Little detail compared to the woman in the center of the canvas. The clouds are dark and made with

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Over in the middle of the painting, there is a more pronounced aperture looking over a waterway and rocks. The outline of the aperture makes up the shape of the face, the woman sitting down looking over the other way forms the mouth and nose of the face and the rocks at the distance form the eyes. All these objects clearly form the face of adolescence. Over on the right side there is a smaller aperture looking over the shore and what seems to be a woman on her knees. The figure of

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This oil painting created in 1647 by Diego Velazquez illustrates the Goddess Venus laying down across a bed, gazing into a mirror being held up by an angel. The image of Venus differentiates from past classical representations of the Goddess. The most notable differences being the way the Venus is facing, and the lack of soft rounded curves. The female in the painting is more slender, and the painter accentuates the transition of her muscles. Additionally, her hair is in a bun opposed to flowing down across her.

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An Italian artist, architect, poet, and philosopher, Leon Battista Alberti was the epitome of the Renaissance man. His expertise in these fields, as well as many other professions, led him to become one of the most significant figures in the fifteenth century. In 1435, Alberti authored On Painting, a didactic book where he laid down the rudiments of this practice for fellow and aspiring artists. Judging from the principles expounded in it, Leon Battista Alberti would have admired several features of Neroccio de’ Landi’s Annunciation (1475), but also disliked an element of that painting. He would have commended Neroccio’s spatial construction, variety in composition, and representation of emotions since they all accorded with the methods that

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Within a large villa on the outskirts of the ancient city of Pompeii, resides an intriguing cycle of frescoes. They depict life size mythological creatures and statuesque women engaged in various activities, which have often been connected with the initiation into the cult of the Greek God Dionysus, or Bacchus. (Figure 1-11) Since their discovery in 1909, these fascinating images have become the focus of ample amounts of scholarly research and debate over the true nature of their meaning. Was this a space for domestic cult practice and initiations, or the private apartment of the materfamilias, or domina? Perhaps it was a grand dining room that took full advantage of the panoramic view of the Bay of Naples.

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One angle is also bearing the symbols of the crucifixion like the lance Christ was stabbed with and the crown of thorns. The top part of the painting as a very calming and gentle tone to it. Both panels show Jesus but they look like two different people. On the left he 's lifeless, has no clothes on and seems weak. The middle ground between heave and hell is small.

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