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    Madonna With The Long Neck

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    Sofea Radzuan
    The Madonna with the Long Neck painting from 1535 depicts the Virgin Mary seated holding infant Jesus, surrounded by angels. On the right is the figure of St. Jerome required by the commissioner. The painting is known as the "Madonna of the Long Neck" because Parmigianino elongated Mary's neck for grace. Parmigianino used Mannerist distortions including Jesus' large size and Mary's disproportionately tall and slender figure. The composition and figures break conventions to achieve unexpected beauty through asymmetry rather than symmetry.

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    Madonna With The Long Neck

    Uploaded by

    Sofea Radzuan
    276 views4 pages
    The Madonna with the Long Neck painting from 1535 depicts the Virgin Mary seated holding infant Jesus, surrounded by angels. On the right is the figure of St. Jerome required by the commissioner. The painting is known as the "Madonna of the Long Neck" because Parmigianino elongated Mary's neck for grace. Parmigianino used Mannerist distortions including Jesus' large size and Mary's disproportionately tall and slender figure. The composition and figures break conventions to achieve unexpected beauty through asymmetry rather than symmetry.

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    Madonna With the Long Neck

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    The Madonna with the Long Neck painting from 1535 depicts the Virgin Mary seated holding infant Jesus, surrounded by angels. On the right is the figure of St. Jerome required by the commissioner. The painting is known as the "Madonna of the Long Neck" because Parmigianino elongated Mary's neck for grace. Parmigianino used Mannerist distortions including Jesus' large size and Mary's disproportionately tall and slender figure. The composition and figures break conventions to achieve unexpected beauty through asymmetry rather than symmetry.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    276 views4 pages

    Madonna With The Long Neck

    Uploaded by

    Sofea Radzuan
    The Madonna with the Long Neck painting from 1535 depicts the Virgin Mary seated holding infant Jesus, surrounded by angels. On the right is the figure of St. Jerome required by the commissioner. The painting is known as the "Madonna of the Long Neck" because Parmigianino elongated Mary's neck for grace. Parmigianino used Mannerist distortions including Jesus' large size and Mary's disproportionately tall and slender figure. The composition and figures break conventions to achieve unexpected beauty through asymmetry rather than symmetry.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    of 4

    Madonna with the Long Neck

    From Wikipedia, the free encyclopedia


    Jump to: navigation, search
    This article contains too many quotations for an encyclopedic entry. Please help
    improve the article by removing excessive quotations or transferring them to
    Wikiquote. Help is available. (March 2008)

    La Madonna dal Collo Lungo


    The Madonna with the Long Neck
    or Madonna and Child with Angels and St.
    Jerome
    (After restoration)

    Artist Parmigianino

    Year 1535-40

    Type Oil on wood

    Dimensions 216 cm × 132 cm (85 in × 52 in)


    Location Uffizi, Florence

    The Madonna of the Long Neck (Italian: La Madonna del Collo Lungo), also known as
    Madonna and Child with Angels and St. Jerome, is an Italian Mannerist oil painting by the
    Italian painter Parmigianino in 1535, depicting Madonna and Child with angels. The painting
    was begun in 1534 for the church of the Servites in Parma, but remained incomplete on
    Parmigianino's death in 1540. Ferdinand III, Grand Duke of Tuscany purchased it in 1798
    and it has been on display at the Uffizi since 1948[1].

    [edit] Description
    The painting depicts the virgin mary as Madonna, seated on a high pedestal and swathed in
    luxurious robes, holding a rather large baby Jesus on her lap. On her left are visible six angels
    crowding around the Madonna and adoring the Christ. The unfinished face of the angel on the
    bottom left (from the viewer's perspective) can be seen more clearly in recent reproductions
    (top), following a restoration of the painting. Additionally, the angel in the middle of the
    bottom row now looks at the vase held by the angel on his right, in which can be seen the
    faint image of a cross. Before the restoration (as can be seen in the older reproduction,
    bottom), this angel looked down at the Christ child. The changes made during the restoration
    likely reflect the original painting, which must have been altered at some time in its history.
    On the Madonna's right (from the viewer's perspective) is an enigmatic scene, with a row of
    marble columns and the emaciated figure of St. Jerome. A depiction of St. Jerome was
    required by the commissioner because of the saint's connection with the adoration of the
    Virgin Mary. The painting is popularly called "Madonna of the Long Neck" because "the
    painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a
    neck like that of a swan."[2] On the unusual arrangement of figures, art historian E. H.
    Gombrich writes:

    "Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed
    a jostling crowd of angels into a narrow corner, and left the other side wide open to show the
    tall figure of the prophet, so reduced in size through the distance that he hardly reaches the
    Madonna's knee. There can be no doubt, then, that if this be madness there is method in it.
    The painter wanted to be unorthodox. He wanted to show that the classical solution of
    perfect harmony is not the only solution conceivable; that natural simplicity is one way of
    achieving beauty, but that there are less direct ways of getting interesting effects for
    sophisticated lovers of art. Whether we like or dislike the road he took, we must admit that he
    was consistent. Indeed, Parmigianino and all the artists of his time who deliberately sought
    to create something new and unexpected, even at the expense of the 'natural' beauty
    established by the great masters, were perhaps the first 'modern' artists. We shall see,
    indeed, that what is now called 'modern' art may have had its roots in a similar urge to avoid
    the obvious and achieve effects which differ from conventional natural beauty."[2]

    Parmigianino has distorted nature for his own artistic purposes, creating a typical Mannerist
    figura serpentinata. Jesus is also extremely large for a baby and he lies precariously on
    Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human
    proportions - she is almost twice the size of the angels to her right[3] and her right foot rests on
    cushions that appear to be only a few inches away from the picture plane, but the foot itself
    seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions
    of a framed picture.[3] Her slender hands and long fingers have also led the Italian medical
    scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had
    the genetic disorder Marfan syndrome affecting her connective tissue[4][5].

    “Ayahku dan Angkasawan” 1969


    Ibrahim Hussein

    Teknik:
    Campuran, catan dan cetakan saring

    Halbenda:
    2 figura
    i. takberbaju tetapi berkainpelikat
    ii. angkasawan yang lengkap tetapi berlatarbelakangkan pemandangan kampong

    Mesej:
    - ada duit dipeha
    - tahun 1969, bapanya masih tidak percaya pada kejayaan manusia dibulan
    - kisah kebuluran di Baling
    - kontroversi dengan bapa
    - nilai sosial

    Gaya:
    - realistik dengan gabungan teknik catan dan cetakan

    Sebab-sebab karya berjaya:


    - mampu meyampaikan mesej dengan jelas tentang paradigma masyarakat yang tidak mahu
    maju.

    Monday, 5 April, 2010, 6:26:32 PM | noreply@blogger.com (mozais63)


    “Membakar Semut” kapur 1967
    Dzulkifli Buyong
    Apresiasi:-

    - 4 gaya penampilan

    i. gaya naturalisme:
    o imitasi figura
    o tak realisme , tiada kadar banding yang betul tapi masih dapat di kenal pasti

    ii. gaya idealisme:


    o penyampaian secara “exaggaration”/melampau
    o komposisi susunan 3 segi berpusat kepada api

    iii. stailisasi
    o figura – tidak mengikut kadar banding yang betul

    iv. abstraksi
    o lambang-suratkhabar digunakan untuk membakar iaitu suratkhabar melayu sebagi
    melambangkan kanak-kanak melayu

    - Mesej yang hendak disampaikan:

    o keadaan masyarakat kanak-kanak melayu iaitu membakar semut sebagai satu aktiviti
    o tiada mainan lain
    o permainan yang agak simple dan daif yakni satu gambaran tentang keadan sosio-ekonomi
    - Bentuk:-
    o naratif, ekspresi watak diolah bagi menerangkan sesuatu.

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