Religion Paper Example: Transformation of Life to Death Artistic Works

Introduction

Religious motifs were represented in the form of imagery on artistic works to illustrate Christian principles. The baroque and renaissance art movement was used by artists to give artistic works ornate detail and offer classical messages to the audience. In this regard, a renaissance sculpture of Pieta, and two baroque paintings of Caravaggio namely Judith beheading Holofernes and taking of Christ in the garden will be analyzed. An analysis of the historical contexts, elements, and a synthesis of the three artistic works will be conducted to gain insights into the theme of religion (life transformation to death). The three artistic works adopt a religious theme that brings out the thin line that exists between life and death amongst human creatures.

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Work 1: Pieta (Renaissance art movement)

Theme: Religion (Represent)

Pieta is a multi-figured renaissance sculpture demonstrating both Mary and his son Jesus created by Michelangelo with marble (Romaine and Linda 207). The historical context of the sculpture includes the crucifixion of Jesus, the death of Christ, and the transfer of his body to the tomb. The three historical contexts depict the transformation that occurs from life to death. Before Jesus was crucified on the cross, a series of events that exposed Jesus to suffering occurred. Jesus was beaten and tortured; however, he was strong enough to endure these acts and remain alive until he was crucified on the cross. He died on the cross marking the transformation and later his body was transferred to the tomb where he was supposed to lay dead eternally. During the transition from crucifixion to death, Virgin Mary holds his son in his arms as demonstrated in Pieta.

The sculpture of Pieta depicts a somber mood due to the death of Christ. However, the use of lines gives the sculpture life and energy. The lines on Jesus are an indication of his lifelessness; they demonstrate the transition of Jesus from an energetic man to a lifeless being. Additionally, the lines in Pieta are diagonally giving the sculpture life. Diagonal lines were not commonly utilized traditionally since their use depicted movement and action. In Pieta, the lines indicate the transformation that occurs from life to death. The sculpture has different values illustrated by the curves on the Cloth of Mary, on Jesus' body, and around Mary's neck. The curves create dark shadows that symbolize the transformation of life to death.

Work 2: Judith beheading Holofernes (Baroque art movement)

Theme: Religion (Represent)

In the portrait of Judith beheading Holofernes, the three main historical contexts adopted include Bethulia faces a threat from General Holofernes, the courageous acts of Widow Judith save her town, and the importance of cunning actions to accomplish Judith's mission (Brine, Elena and Henrike 221). General Holofernes is sent with his Assyrian army to attack Bethulia, through the attack lives would have been lost. However, Judith sets to save her hometown through cunning tactics. Judith seduces General Holofernes who falls victim by getting drunk. Holofernes falls into the trap portraying the process required for the transformation of life to death. Judith's courageousness aid in the murder of Holofernes in cold blood. During the murder, Holofernes legs and hands contract, his mouth gapes, an indication that life is coursing through him before the blood spurt out of his throat leads to his death.

The three figures displayed in Judith beheading Holofernes depict a murderous action characterized by chiaroscuro, tenebrism, and the dark shadows. The use of chiaroscuro reveals the murder act through the real volume painting of Judith and Holofernes' body particularly the arms. Judith leans away from the murder scene; although, she is the one committing the murder. As a result, chiaroscuro portrays Judith as a delicate lady through the distance kept between her and Holofernes. Additionally, the pre-incised lines allow the old woman to witness the transformation of life to death (Varriano 18). Tenebrism has been used in the portrait to emphasize the important parts. Tenebrism comprises contrasting light effects that bring out the image of Judith as a worried and timid character. However, the dark shadows including the red taped curtain crown the murder taking place, a quick transformation from life to death.

Work 3: Taking of Christ (Baroque art movement)

Theme: Religion (Represent)

Taking of Christ in the Garden is a painting that depicts the arrest of Jesus from the garden. The art by Caravaggio in the 17th Century has two main characters Jesus and Judas who are painted at the far-left side of the painting (Caravaggio 1). The portrayal of Jesus and Judas in the painting is emphasized since they are the main characters who illustrate the transformation from life to death. The painting portrays a familiar betrayal story where Judas Iscariot betrayed Jesus. Judas is portrayed kissing Jesus in the portrait; as a result, Judas exposes Jesus to death. A soldier moves his hand towards Jesus' throat after the kiss to arrest him. Additionally, the thin line that exists between life and death prompts John to run away; however, his cloak is held by one of the soldiers denying him his freedom.

Taking of Christ in the Garden is an artistic work filled with emotion and depicted by the little light underscored by a lantern, the shadows, and the middle gray value. The middle gray value brings out the action between Judas and Jesus during the betrayal. Jesus does not resist the tactility portrayed by Judas after he is put to death. The little lighting on the face of Jesus reveals a facial expression characterized by pain, disappointment, and passiveness. On a similar note, the armors worn by the soldiers shadow the event since they absorb the light depicting a sad event. As the soldier's hand moves up Jesus' throat, it is an indication of how life can transform to death within a very short period.

Synthesis of the Three Artistic Works

The three artistic works draw their meanings from religious, historical contexts derived from both the Old and New Testament. The two baroque paintings and the renaissance sculpture inter-relate since they are all based on dramatic historical pasts that end up in death. As a result, the theme of the existence of a thin line between life and death is explored. In all the three works either the historical context or the artistic work itself depicts the existence of life which is in the long run taken away leading to the transformation of life to death.

By a similar token, the elements used in all the three artistic works depict a somber mood and the transformation of life to death at large. In particular, the sculpture and the paintings have both used shadows significantly. In Pieta, the shadow is revealed through the curves made while in 'Judith beheading Holofernes,' the dark background shadows events taking place in the art. Although Judith does not look capable of killing anyone, she decapitates Holofernes head twice (Roncace and Patrick 205). Lastly, shadows in the painting of 'Taking Christ in the Garden,' are illustrated by the armor worn by the soldiers. The shadow element is significantly used to symbolize the sad events that took place which include the death of Holofernes and Jesus.

Conclusion

Conclusively, artists both refined and polished their works to communicate important messages to its audience. Successful art pieces make an impact in the society through the message conveyed. The three art pieces focus on revealing the thin line that exists between life and death. Death is a cruel act that takes away every type of movement from an individual. Holofernes and Christ in 'Judith beheading Holofernes' and 'Pieta' lie lifelessly after a struggle to fight death, an inevitable fate that each is subjected in his or her lifetime. In taking of Christ in the Garden, the historical context is used to define the transformation of life to death since the paintings illustrate the chain of events that would result in Jesus' death.

Works Cited

Brine, Kevin R, Elena Ciletti, and Henrike Lahnemann. The Sword of Judith: Judith Studies across the Disciplines. Cambridge: Open Book Publishers, 2010. Print.

Caravaggio, Merisi. The Taking of Christ. National Gallery of Ireland, 2018. Retrieved from

https://www.nationalgallery.ie/taking-christ-michelangelo-merisi-da-caravaggio

Romaine, James, and Linda Stratford. Revisioning: Critical Methods of Seeing Christianity in the History of Art, Oregon: Cascade Books. 2013. Print.

Roncace, Mark, and Patrick Gray. Teaching the Bible through Popular Culture and the Arts. Atlanta: Society of Biblical Literature, 2007. Print.

Varriano, John. Caravaggio: The Art of Realism. Pennsylvania: The Pennsylvania State University Press, 2010. Print.