本文主要讨论的是以下的图片，“基督和女人犯了奸淫”，在很多详细，英语论文网站，以便读者将有对于它一个更好的了解。该文章将显示整个画面的描述，英语论文，即画家，塞巴斯利玛窦曾生活的介绍，以及文艺复兴和基督教的探讨。有了这些材料，并阐述他们是为了说明这幅画的背景，展示著作的探讨。
In the ancient Italy, particularly in Venice, there were a considerable number of fabulous painters who liked painting oil canvas, however, not everyone who was apt at painting could be memorized by people, not to mention to become famous and be admired by people in the ancient world. However, there was one painter in the ancient Venice during the period of Renaissance attracting numerous artists in this contemporary world to probe into and to study what the painting style that he had. His name is Sebastiano Ricci. Among all the paintings that he had drawn, the one which is entitled “Christ and the Woman Taken in Adultery” mirrors a lot of his real lives and the impact that Christianity had and the advantages that Renaissance brought. In the very beginning, he did not have any reputation, on the contrary, it sounds incredible and ridiculous, but it is a hundred percent real that he had been sentenced to jail for a couple of years. It is incredulous to think how it could be possible for a great artist to be convicted a crime and sent into prison. People may think what happened after relieving from jail that made him popular and propelled him to embark on the road of painting. This is going to plumb the picture, “Christ and the Woman Taken in Adultery”, in a lot more details so that readers will have a better understanding in regards to it. The will show a description of the whole picture, the introductions of the life that the painter, Sebastiano Ricci had, as well as the researches of Renaissance and the Christianity. Having these materials and elaborating them are meant to describe the background of this painting and show the research of the artwork.
Description:
The brilliant painting named “Christ and the Woman Taken in Adultery” in the Krannert Art Museum was created by one of the most prestigious painter whose name is Sebastiano Ricci in Italy. The size of this oil on canvas is 39.69-50.48 cm, which is as large as a T-shirt that is suitable for persons who are at the age of 23. There are a couple of Russin collectors stamps as well as a Paris custom stamp on it. There is a woman who was accused of adultery before the lord, Jesus, she was looking down at the ground where Christ, on the right, drew something in regards to his crime that was not true. Specifically speaking, there are two men kneeling on the ground on each side of the accused woman. Furthermore, there are approximately six other people sitting around looking at the ground as the woman did. The man in pink who was sitting on the left side of the accused woman looked up at the other man in red, it seems that they were discussing something. The theme of this great oil painting on canvas derived from the Gospel of John 7:53-8:11. According to Heil, John Paul, the Gospel of John illustrates a story, Pharisees carry a lady who was accused of adultery to Christ, the aim of Pharisees was trying to delude Christ into violating the Old Testament precept (Heil, 1991). At the time Pharisees posted a question to Christ for the sake of forgiving and remitting the stoning of a lady taken in adultery (to be in line with the Law of Moses), he bent down and wrote something on the ground with his one of his bare finger, as if Christ was inaudible for what they told. In a church which was almost constituted of marbles, Christ was kneeling his knees, and his index finger on his right hand endeavored to point to a mint mark on the ground. In the middle sat a lady who was accused to be adulterous with Christ with her hands holding. There were several seniors staring closely and meticulously at Christ. Afterwards, Christ was asked to answer the question once more, in reply to it, Christ broke off his writing on the floor, he raised himself and told them “Anyone here who does not have any sin can be the first one to cast a stone at her”(Gutzmore, 2017). It is clear that Christ was trying to defend the adulteress. Fortunately, Christ succeeded in defending himself. The Pharisees was not able to refute or say any other things regarding Christ, in the end, they dispersed. Finally, Christ let the lady go with a warning that she should not sin in the future. There were also a couple of fingers in this picture attempting to understand and distinguish what Christ had wrote was all about. Their faces were very serious and curious, just like those faces would only appear when people encountered with a very sophisticated and complex problem but had no idea how to work it out. In addition, from this picture, the temple of Jerusalem can be seen clearly, to be accurate, this temple was shown in the background of the painting. The embosses ornamented the Temple of Jerusalem perfectly. There is also a small round disk displaying that Moses gave the Ten Commandments which incorporated a certain law against adultery. This painting was very prevalent and welcome in eighteenth-century in Venice in Italy. There are a variety of reasons describing the reasons why it was so popular at that period of time. On the one hand, this painting had a crucial value which had a lot of things to do with the authentic, optical, musical and literary culture. On the other hand, dwellers were extremely keen on the the splendid and exotic painting as well as its theme which represented a performance about a lady who sexualized in public. The factors mentioned previously are what made it so popular in in eighteenth-century in Venice.
Research the artwork:
The introduction of the artist who painted the oil canvas：
The paint, Sebastiano Ricci, was born on 1659 on Belluno, a small town in the north of Venice. His father was Andela Ricci and his mother was Livio Ricci. Sebastinao Ricci was sent to a famous painter, Federico, and was apprenticed by this painter when he was at the age of twelve. According to Nicolson Benedict, the teacher who enlightened Sebastiano Ricci was Sebastian (Benedict, 1963). Due to the help of Sebastian and the inspiration that he gave to Sebastinano Ricci, Sebastinano eventually became a prestigious artist. In the year 1678, the young artist Sebastiano Ricci fell in love with a beautiful woman and made her pregnant. This might be the most romantic thing that people can think, people it is terrific that a couple can fall in love with each other, and can be together and give birth to a baby. In this modern world, of course, it can be one of the most delightful things that occur in a people’s whole life, however, unfortunately, this was intolerable at that time, the society did not tolerate this crime which was considered to be one of the biggest sins. Ruggiero Guido has pointed out that the sex crime in Renaissance Venice could not be tolerated, adultery or rape and various kinds of sexual behaviors were labeled as crimes (Guido, 1989). Hence, Sebastinano Ricci was punished eventually, he was sent to prison for a couple of years. There were no specific information showing the life that he had during the prison life, however, there is one thing which is conspicuous, that is, this life can not be good or joyful. This experience could be the reason why he painted the picture, “Christ and the Woman Taken in Adultery”. Having been relieved after serving the whole term of the sentence that he was convicted, Sebastinano Ricci had finally come together and married. Instead of being degenerated or influenced greatly by the life in jail, he did not be beat, on the contrary, he moved on with an enthusiastic attitude. Afterwards, he opted to go to Bologna, where his painting style was influenced to a tremendous extent by Giovanni, a brilliant artist at that period of time. In Sebastinano Ricci’s early age, he used to be overwhelmingly fond of traveling for the sake of his active, passionate and optimistic characteristics. In spite of belonging to a member of Venetian painters, Sebastinano Ricci had made a round of the whole Italy and been to every cultural cities of it before his death. Although he showed an extreme interest in the Baroque style, he always took the attitude of careful analyzing and rational inheriting. It is worthy to mention that Veronese had a immense impact on him, so to speak that his personal artistic style was inherited and developed on the basis of the achievements of Baroque and Veronese. Without the inspiration that these two artists gave, Sebastinano Ricci could not have been such a successful painter. According to Levey Michael, Sebastinano Ricci could be the representative personage for all the artists who were active in the early 18th century in Venice (Michael, 1994), every painting that he drew has, more or less, the same style, namely ease, lucidness, conciseness as well as simplicity. He widely collected a wide range of advantages that other fantastic artists had, meaning to say, he enjoyed the moment when he discovered a painting skill that he had not known before. A considerable number of artists have their own and different painting styles, an artist is prone to be affected by another painters’ painting style. However, in spite of the fact that Sebastiano Ricci was keen on studying other painters’ painting style, he did not be affected, he had his own way to go. What is more, he was full of the spirit in exploration and firmly advocated that the painting art in Europe should be reformed. It is not difficult to understand why Sebastinano Ricci could be so famous and stood out remarkably among other equivalently excellent artists. The painting, “Christ and the Woman Taken in Adultery”, shows his painting style fairly well, because we could see that there were not too many unimportant decorations, it is very easy for people to understand what the painter was trying to convey and the vivid details that the took notice of were what made it even better.
Researches on the artwork in terms of its backgroundRenaissance:
On the occasion of this painting, “Christ and the Woman Taken in Adultery”, Renaissance should definitely be discussed. The specified historical period in Europe is meant to be the period during the 13th century. Originated in 13th century, Renaissance was most prevailing in the 16th century, when the painting “Christ and the Woman Taken in Adultery” was made by Sebastinano Ricci. This ideological and cultural movement triggered a revolution of technology as well as the art disclosing the recent European history captivating thousands of hundreds of archaeologists to research and study. A wide array of residents in this world deem that Renaissance was the boundary which segregate the ancient Europe and the modern one. The structures of the society and the politics in Italy were very peculiar. Stephens John proclaimed that it was the disparate social ambiance which Italy had at that period of time that provided the essential condition which facilitating the cultural prosperity needed (John, 2017). The cultural prosperity would certainly change the painting styles that the artists had. Their painting styles were very likely to be entirely difference with the change of cultures. In the past, Italy was not a political entity which has been unified, on the contrary, it was consisted of a couple of city states or territories, and these city states and territories controlled Napoli Kingdom in the south, Republic of Florence and Papal States in the center, Genova and Milan which located in the north and west respectively, as well as Venice in the east (Michelina, 2017). Therefore, some painting made at that period of time showed people today how their lives were at that time. By the time when the Renaissance began, Sebastinano Ricci illustrated how much he wanted to support the Renaissance excellently.
Researches on the artwork in terms of its backgroundBible and Renaissance:
In Western Europe during the middle ages, there was a dark age, when Christianity became the spiritual pillar that gave citizens hopes in the feudal society. Christian had established a series of strict hierarchy, and God enjoyed the absolute authority. Literature, arts as well as the philosophies and everything should be in accordance with the doctrine mentioned in Bible. Christianity was just as powerful and mighty as an intellectual weapon (Paul, 2017). Nobody was able to disobey the disciplines, otherwise, the Inquisition would try to interfere in it and have some sanctions on the person who violated the rules. Sometimes, if the crime was too serious and could not be tolerated by the public, then he or she who was convicted the crime would be executed to death. This is certainly cruel, however, the reason why there were no one who was willing to stand up and fight for their freedom and rights remains a miracle. Because, in another countries like the United States of America, if there is someone who threats the safety of citizens, there will almost be someone to revolt and fight for the rights that they deserve to have. The Bible said that the ancestors of human beings were Adam and Eve, because they disobeyed the rule the God had put into practice, they had to come to the earth. From this story, we could see that any one, including our ancestors, who repel or go against the law that Christ had implemented will have to face a jail. Christ was the most sovereign at that time. If their ancestors, without whom, human beings might not have existed, could be punished by the God Christ, the ordinary inhabitants would have no excuse to object to God. According to Pagels Elaine, the restrictions of Christianity were strict (Elaine, 2017). Under the control of Christianity, the literature, along with the art was as dead as a doornail. People were very terrified of “Black Death ” prevalent in Europe, which made people began to question and doubt the absolute supreme that Christianity had. The core idea of Renaissance was Humanism Spirit, the Humanism Spirit was focus more on human beings rather than God, it affirmed the value and dignity that mankind had and advocated that human beings should spare no effort to seek for their happiness in the authentic lives and that people’s personalities ought to be emancipated. Moreover, it objected to the foolish and superstitious ideas that theology contained, rather, it believes that human beings were the masters and creators of real lives. Hence, the picture, “Christ and the Woman Taken in Adultery”, was about the theology and we could see that the painter was trying to convey a message that Christianity had a huge impact on human beings at that period of time, nobody was allowed or permitted to go against the rules that they had enacted.
In a nutshell, we could see that this painting, “Christ and the Woman Taken in Adultery”, was drawn by the great artist whose name was Sebastinano Ricci. It showed us that Christianity had a tremendous impact on human beings’ lives at that time, people were under the control of Christianity. The renaissance had helped the artists in Italy figure out a way to promote their painting styles and make the arts industry become more splendid to some degrees. Additionally, the early lives that Sebastinano Ricci had undergone can also be reflected in his paintings. It is very easy to see that Sebastinano Ricci was very likely to draw this painting, “Christ and the Woman Taken in Adultery”, in order to go against the Christianity and advocate the Renaissance, because he must have known that Renaissance would definitely facilitate the art industry in Europe and help all the artists in every part of the world find their destiny and value. At the same time, it is also very difficult for human beings who live currently to entirely understand the reason why the painter drew the image, “Christ and the Woman Taken in Adultery”, because we are now able to stand up and fight for our rights and the Christianity can not control us as the did before. When being unable to undergo the experience that ancient artists in Europe had, we will never be able to fully understand the feeling when the painter drew it. However, we could always appreciate those great artworks.
Work Cited
Gutzmore, Cecil. "Casting the first stone!: Policing of homo/sexuality in Jamaican popular culture." Interventions 6.1 (2017): 118-134.
Heil, John Paul. "The Story of Jesus and the Adulteress (John 7, 53-8, 11) Reconsidered." Biblica (1991): 182-191.
Johnson, Paul. history of Christianity. Simon and Schuster, 2017.
Levey, Michael. Painting in eighteenth-century Venice. Yale University Press, 1994.
Nicolson, Benedict. "Sebastiano Ricci and Lord Burlington." The Burlington Magazine (1963): 121-88.
Pagels, Elaine. Adam, Eve, and the Serpent: Sex and Politics in Early Christianity. Vintage, 2017.
Ruggiero, Guido. The boundaries of eros: Sex crime and sexuality in Renaissance Venice. Oxford University Press, 1989.
Savino, Michelina. "The intonation of polar questions in Italian: Where is the rise?." Journal of the International Phonetic Association 42.01 (2017): 23-48.
Stephens, John. The Italian Renaissance: the origins of intellectual and artistic change before the Reformation. Routledge, 2017.
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