>> ​PAINTING

● a solid surface
○ 2 dimensional
○ flat
○ no actual depth
○ only with width and length: no actual depth
○ a solid: occupies space (in space)
■ doesnt have actual depth
● covered with colored forms
○ color is the most important element in painting
○ the most engaged sense is the sense of sight
■ context of time and space: Painting of the Babaylan
● whose arrangement is pleasing —> taking delight in beauty
○ always pleasurable
○ delight comes from our minds reading or seeing of the unity of the arrangement of the the parts which are arranged in unity
and harmony of f the execution
● unity of the form harmony of the parts
● perfection of execution
● “ A plane surface covered with colors arranged in a certain orrder” - Maurice Denis

> THE FORM OR SYSTEM OF PAINTING

● 2D, lacking depth or actual thickness

● parts fit: part-to-part, part to wjole in 2 d format
● elements and principles, subject, technique, Materials, Style
○ appreaciate painting from how space is used

> MATERIALS

● Oil
● Watercolor
● Acrylic
● Mixed
● Tempera
● Wax

> SUBJECTS: what is presented in the painitng, representation in painting which is is the form for abdtact

● Landscape
● Portraits
● Still Life
● Genre
○ everyday scennario and livelihood
● History
● Mythology
● Religion

> Guiding rules are applied to organize the eements

> SPACE

● SIX PERSIMMONS (BY Mu Chi)

○ implies and create depth by overlapping
○ smallest persimmon in front: continued/stopped the effect of the overlap
○ how space is represented in abstract 2D
○ illusion of depth in the lower portion
○ deep space in the upper portion of the painting

> Leonardo Da Vinci

● Mona Lisa:
○ Linear Perspective
○ representation of space realistic in paintings
○ representation of a landscape
● Madonna of the Carnation
○ organization of space
● Virgin of the Rocks
○ Foreground
○ Middle ground
○ Back ground
■ three spaces organzied in a flat surface

> PERSPECTIVE: REPRESENTATION OF SPACE

*background: continued space

● Linear
○ Lines converge toward a vanishing point: illusion used to create depth and real space
○ objects diminish in size as they approach the vanishing point
■ one point linear perspective
■ two point linear perspective
■ multiple linear perspective
● Aerial
○ COLOR:
■ warm colors are placed in the foreground
■ cool colors (blue gray) are placed in the background (based on how we see color in reality
○ VALUE:
■ dark: foreground
■ light: background
○ TEXTURE:
■ foreground: detailed textures
■ background: hazy

> kinds of spaces

● Realistic Space
● Flat
● How space is represented in a flat/ 2d space
> RAPHAEL: STANZA CYCLE

● ​School of Athens in the Stanza della Segnatura

● The Stanza Cycle
○ Representation: Themes of the Fresco
■ Liberal Arts : poetry, theology
■ Cardinal Virtues: virtue of justice/jurisprudence
○ 4 Round Frescos connects to the walls (justice, poetry, theology, philosophy)
■ Tondo: round fresco connected to the school of Athens
■ Fresco on the wall: representing the cardinal virtue of justice
■ Fresco going up: poetry, theology
● Mistaken Interpretation:
○ Does not include the system of the cycle : frescoes
● sourced from the Borjia and Cambio frescoes
● Space
○ BOTH linear and aerial
● Representation of Philosophy as part of the Liberal Arts
○ Figures of Plato and Aristotle:
■ core of philosophy
■ Trajectories in Western philosophy
● Medieval Conventions:
○ Borgia Fresco:​ Liberal Arts
■ Represented in separate frames
■ Separate frame pero liberal arts (7-9 under 1)
■ 2D and 3D spaces in painting
○ Cambio Fresco: ​Cardinal virtues
■ Cardinal virtues are paired: symbolic figures are not on the same plane
■ Prudence and Justice
■ Temperance and Fortitude
■ the symbols of philosophy are found on the tondo (3 under 1)
■ made use of HORIZONTAL AND VERTICAL PLANE

> LINE

● The foundation of all drawing

● can be used to suggest shape, pattern, form, structure, growth, depth, distance, rythm, movement and a range of emotions
● THE QUALITY OF LINE
○ a fundamental visual language, cannot be claimed for other element
○ the use is universal: we are all sensitive to it
● EXPRESSIVE QUALITIES OF LINE
○ Freehand lines: personal energy and mood of the artist
○ Mechanical lines: express a rigid control
○ Continous lines: lead the eye in certain directions
○ Broken lines: express ephemeral or the insubstantial
○ Thick lines: express strength
○ Thin lines can express
● PSYCHOLOGICAL RESPONSE TO LINES
○ CURVED LINES: comfort and ease
○ HORIZONTAL LINES: distance and calm
○ VERTICAL LINES: height and strength
○ JAGGED LINES: turmoil and anxiety
> FUNCTION OF COLOR IN REPRESENTATION

1. To connect things belonging together and separate the ones that should be apart
2. To identify or distinguish - black and white distinguish the mourners from the happy brides, and the images of the Maddonna are known
by her blue coat and red dress

>VISUAL PROPERTIES OF COLOR

● Color is the visual property of the pigment of an object

○ detected by the eye and produced as a result of the way the object reflects or emits light
● Each color has 3 properties
○ hue: name of a color
○ value: a color’s lightness or darkness, which is altered when black or white is added
○ intensity: the intensity of a color, often measured by boldness or dullness

> MONOCHROMATIC SCHEME

> COMPLEMENTARY SCHEME

● directly opposite with each other on the color wheel

> Relationships of colors

● The Rest on the Flight to Egypt: different intensities of blue are repeated: creates a sense of harmony

> COLOR STRUCTURE AND VERSIMILITUDE

● 2 TENDENCIES
○ structure
○ naturalistic verisimilitude
● Genevra De Benci, 1478
○ Leonardo Da Vinci
○ Renaissance Style
○ 3D space through color
○ warm colors on the foreground

> NON DESCRIPTIVE OR NON-LOCAL COLOR

● radical goal of separating color from its descritptive representational form

● how different colors represent and express emotions
● Young Woman In Blue, 1662, 1663
○ Vermeer
○ Style: Baroque
○ Subject: Young woman reading a letter
■ expresses solitude
○ Colors: blue being the lightest in terms of value, colors are repeated in different tones or values (dark valued yellow, and
varying values of blue)
■ representation of space: small space, corner of the room, position of the subject is blocked
■ different values of blue
■ yellow ochre and blue: contrast —> intamcy
● Organization of colors
○ colors in relation with other colors
○ understanding a painting through color
 ● LA DANSE I (1909)
○ Henri Matisse
○ Modern
○ Fauvism
■ How the organizations interplay with the elements of the painting
● REST ON THE FLIGHT INTO EGYPT
○ Baroque Style
○ Gerard David
● ALBA MADONNA
○ Raphael
○ Renaissance style
○ Composition: Use of IMPLIED LINES —> Draws attention to the cross
○ Color: Virgin Mary
○ 3 Figures are grouped to the left
○ ELEMENTS
■ interplay of IMPLIED LINES
■ angled lines created by the arm
■ lines directed to the cross
■ Parameter of shape
■

> COLOR AND SHAPE

● NON DESCRIPTIVE/NON LOCAL

○ Color establishes a structure and colors are arranged
○ how colors establish space

FOR MIDTERMS:

● Young Woman In Blue, 1662, 1663

○ Vermeer
○ Style:
○ Subject: Young woman reading a letter
■ expresses solitude
○ Colors: blue being the lightest in terms of value, colors are repeated in different tones or values (dark valued yellow, and
varying values of blue)
■ representation of space: small space, corner of the room, position of the subject is blocked
■ different values of blue
■ yellow ochre and blue: contrast —> intamcy
● Organization of colors
○ colors in relation with other colors
○ understanding a painting through color
● LA DANSE I (1909)
○ Modern
○ ​Henri Matisse
○ Fauvism
■ How the organizations interplay with the elements of the painting
● REST ON THE FLIGHT INTO EGYPT
○ Baroque Style
○ Gerard David
● ALBA MADONNA
○ Raphael
○ Renaissance style
○ Composition: Use of IMPLIED LINES —> Draws attention to the cross
○ Color: Virgin Mary
○ 3 Figures are grouped to the left
 ○ ELEMENTS
■ interplay of IMPLIED LINES
■ angled lines created by the arm
■ lines directed to the cross
■ Parameter of shape
● Genevra De Benci, 1478
○ Leonardo Da Vinci
○ Renaissance Style
○ 3D space through color
○ warm colors on the foreground
● Ward in the Hospital in Aries, 1889
○ Vincent Van Gogh
○ Post-Impressionism
○ Colors:
■ bright colors to uplift the ambiance
○ Lines:
■ black lines
■ broken lines
■ angular line: tube in the middle which contrasts the direction of the lines on the ceiling
■ provides tension through the lines and interplay with color
● LUNCHEON AT THE GRASS
○ Edouard Manet
○ Style: Impressionism
○ Arrangement of Colors:
■ Bright chromatic values in the middle with darker chromatic values around it
○ A formal organization of the painting by how colors are arranged

> ​CULTURAL BACKDROP OF THE RENAISSANCE

● Period of creativity:
○ inflow of profane art
○ the art of the period chose biblical themes reinforced with scientific methods and technical mastery
● Revival of the classical form or Greek art in music, poetry, painting, sculpture and architecture
● Age of Discovery:
○ this cause economic growth
○ artisits and scientists pursue the arts without worrying financially

> HIGH RENAISSANCE STYLE (C. 1490 - 1530)

● stylistic traits
● Leonardo Da Vinci
○ The Virgin and Child with Saint Anne
○ Madonna of the Carnation
■ perspective
■ sense of real space
○ The Baptism of Christ (by Verocchio and Leonardo da Vinci)
○ also known for his drawings
● Raphael
○ Stanza Della Segnatura Cycle
■ Frescoes in relation to other frescoes
■ PLACEMENT OF FRESCOES: respresents the practice and understanding of cardinal virtues and liberal arts
■ 4 Frescoes: ​Jurisprudence, Poetry, Philosophy, Theology —> pathway to God
■ 2 Themes: Liberal Arts and Cardinal Virtues​: combined because these are important pathways by which man can
be truly human - principal of humanism, man becomes the measure of all things
○ Disputation of the Most Holy Sacrament
■ Fresco na katapat ng School of Athens
■ corresponds to Theology
 ■ Upper portion: Holy Trinity with Mary and John the Baptist
■ Besides: Patriarchs and apostles —> triumphant church is highlighted
○ School of Athens
■ Plato and Aristotle in the middle
○ The Wedding of the Virgin
○ The Madonna of the Meadow
■ Pyramidal composition of Leonardo
○ The Madonna of the Pinks
○ The Coronation of the Virgin
○ The Mond Crucifixion
○ Transfiguration
● Michelangelo
○ Sistine Chapel Frescoes
■ Representation of the history of salvation
■ CEILING AND WALL FRESCO
■ The Last Judgement
■ most important fresco in the chapel
■ ORGANIZATION OF THE ICONOGRAPHIC PROGRAM OF THE CEILING
■ 9 panels:​ history of salvation: center of the fresco
■ from creation
■ (around the 9 panels) ​alternating figures of prophets and civils:​ prophets are considered to see the
future
■ Middle Panel:​ God the Father giving life to Adam who is earthborn
■ (in between the panels)​ 8 spangles​: ancestors of Christ
■ Pendentives​: on the four corners
● Boticelli​: The Birth of Venus

> HARMONY AND BALANCE

● representation in the renaissance

● The Last Supper by Leonardo da Vinci
○ used fresco
○ creation of an illusion of real space
○ Jesus reveals that somebody among the apostles is going to betray him
● The Mond Crucifixion
○ value of the crucifixion
○ representation of classical renaissance equilibrium

> ​RENAISSANCE PORTRAITS

● romans had renaissance portraits used in political ways

● Monalisa
○ enigmatic smile
○ elements:
■ landscape at the background: represenation of space, illusion of real space, illusion of depth through the use of
perspective
■ Sfumato​ technique: employ the human qualities of the person, capture the feminine in Monalisa

The last supper: represents the eucharist

try to connect the reading with the 3 painting

● charcovva
● da vinci
● intoretto
> THE PERIOD OF THE RENAISSANCE

● term generally used to designate a historical period of cultural revival

● RENAISSANCE
○ pivotal era of artistic production in creative imitation of classical models and values which began in the late 14th century in Italy
and spread over the course of the 16th century throughout Europe and beyond

> RENAISSANCE VS. MEDIEVAL

● Renaissance defined itself against Middle Ages with negative connotations:

○ ignorance
○ economic decline
○ in the arts and lack of naturalism and depth

> THE ART OF THE RENAISSANCE

● renewed interest in antiquity these included:

○ the formulation of perspective
○ naturalistic depiction of the huma1n figure and landscape
○ emphasis on proportional architectural forms
○ the growing self-consciousness of artists as prominent creative individuals and intellectuals

> HIGH RENAISSANCE: STYLISTIC TRAITS

> RAPHAEL

● CORONATION OF THE VIRGIN

○ 2 Registers
■ meaning making
■ heavenly world is distinct from the earthly world
● THE MOND CRUCIFIXION
● DISPUTATION OF THE HOLY SACRAMENT
● THE MADONNA OF THE MEADOW

> BAROQUE:

● The phenomena of the Reformation and the Counter-Reformation

● Baroque art (painting) is characterized by:
1. dynamism: a sense of motion , play on light and shadows, chiaroscuro or tenebrism for dramatic effect, strong
curves, rich decoration, stark lighting
2. the full blown Baroque aesthetic: (full Baroque) was embraced in southern Western Europe
3. Flemish Baroque: Full Baroque
● Dynamic Baroque vs. Full Baroque

> DYNAMIC: the descendant of Italian Renaissance painting (which focused on overall composition)
> FULL: descendant of Low Countries Renaissance painting (which focused on realistically capturing the immediate physical world)

> ​BAROQUE STYLE

● TRANSITION TO BAROQUE: ​ ​Mannerism: ​ Jacopo Tintoretto

● REALIST BAROQUE:
○ Caravaggio (ITALIAN)
■ Supper at Emmaus: patches of darkness
■ Conversion of St. Paul: chairoscurro
■ The Calling of St. Matthew
 ● FRENCH BAROQUE:
○ classical adherance to certain rules of proportion and sobriety uncharactersitic of the Baroque as it was practiced in most of
the rest of Europe during the same period
○ George de la tour (FRENCH)
■ Joseph the Carpenter: classic application of tenebrism
■ Penitent Magdalene: tenebrism, arrangement of values
■ Job Mocked by his Wife: red value
■ The Birth of Christ
■ The Denial of Saint Peter: 2 sources of light —> pseudo chiarascurro anf tenebrism —?>tenebrism with 2
■ The Smoker: secular subject
○ Nicolas Poussin (FRENCH, CLASSICISM): ​rational control, proportion, Roman classicism
■ The Miracle of Saint Francis Xavier: influenced by Raphael - upper and lower portion
● SECULAR BAROQUE
○ Vermeer (FLEMISH)
■ The Milkmaid: blue contrasted by yellow, domestic scenarios
■ The Art of Painting
■ Girl With a Pearl Earring
■ View of Delft
○ Rembrandt
■ The Return of the Prodigal Son
■ Self-Portrait as the Apostle Paul: represented himself when he was old
■ Nightwatch: lines: outward - going to the right to the left
○ Zurbaran
■ El Bodegon
● DYNAMIC BAROQUE
○ Baroque sky-ceiling murals: Dynamic Baroque
■ a scene is painted with sufficient physical realism ( depth of perspective)
■ gives observers the illusion of “looking through” the painted surface at the scene beyond; this is known as illusionistic
painting
■ most spectacular traditional form
○ Giovanni Battista Gaulli aka Bacccio (ITALIAN)
■ Nave of Gesu: fresco, The stucco reliefs were executed by Ercole Antonio Raggi and Leonardo Reti, following the
drawings of Baciccio who wanted to effect a real community between painting and sculpture
■ Triumph of the Name of Jesus
■ Apotheosis of the Franciscan Order
○ Pietro de Cortona ( ITALIAN)
○ Andrea del Pozzo (ITALIAN) : celing of st ignatius
■ Triumph and Apotheosis of St. Ignatius de Loyola

> FRENCH BAROQUE:

● classical adherance to certain rules of proportion and sobriety uncharactersitic of the Baroque as it was practiced in most of the rest of
Europe during the same period
● ARTISTS
○ Nicolas Poissin: rational control, proportion, Roman classicism
○ Georges de La Tour
● REMBRANDT (FLEMISH)
○ The Return of the Prodigal Son
■ biblical narratives - dramatic
■ contemplate - lighting
■ doctrine of faith: biblical representation of a biblical system
■ IMPORTANT ELEMENT: VALUE: geroscuro
■ Sense of quiet, forgiveness
■ father and the son embrace
■
○ The Jewish Bride
● CARRAVAJIO (ITALIAN)
● NICOLAS POUSSIN (FRENCH)
○ A Dance to the Music of Time
 ● VERMEER (FLEMISH)
○ The Milkmaid
○ The Art of Painting
○ Girl with a pearl earring
○ The View of Delft
● CORTONA
○ Triumph of Divine Providence
○ Apotheosis of the Franciscan Order
● ANDREA POZZO
○ Triumph and Apotheosis of St. Ignatius de Loya
● ACOPO TINTORETTO
○ Last Supper

> FORM AND BEAUTY OF MODERN PAINTING

● Modern Painting: Introduction

○ Subject: tends to feature ordinary, everyday scenes as opposed to the traditional “lofty” subjects (biblical, mythological,
historical)
○ Stylistic Development:
■ concludes the “age of academies”
■ academy: official body that upholds traditional artistic standards, via the provision of artisitic training and the hosting
of prestigious exhibitions
■ exhibitions: could make of break and artist’s career, would naturally only accept works of art that respected the
academy’s standards —> “academic art”
● ACADEMIC ART (painting) vs. modern art (painting)
○ STYLISTIC DEVELOPMENT: academies flourished in Europe from the Renaissance
○ FOCUS:
■ western Europe and US and Eastern Europe
■ we speak of the initial development in Europe, western (france)
■ the development shifted to New York
■ decentralized modern styles in different regions
■ the world of art has largely ceased to feature dominant trends led by a particular region, or indeed dominant trends to
all
○ NON WESTERN ART:
■ played a key role in the devt of modern art
■ western artisits founf limitless inspiration in the traditions of other cultures across the world
● ANGELUS
○ Millet
○ MODERN:
■ the subjects are ordinary people engaging in daily activities
■ abstract elements:
■ theme of labor: ordinary representation of ordinary people and work
■ age of industrialization
○ TRADITIONAL (ACADEMIC):
■ praying of the Angelus
■ stopping to pray
● THE GLEANERS
○ Millet
○ MODERN
■ the subjects are ordinary people engaging in daily activities
○ TRADITIONAL (ACADEMIC):
■ use of perspective
■ representation of 3D space (tradition of the Renaissance)
● THE STONE BREAKERS
○ Gustave Courbet
■ focuses on the very issue of work
○ Realism Style
○ MODERN:
 ■ hardness of labor
■ idealistic representation of the subject
■ FORM: realistic lighting
■ SUBJECT: everyday/ordinary laborer
■ horizon is covered
■ SPACE: no clear representation and perspective of space
○ TRADITIONAL (ACADEMIC):
■ use of perspective
■ representation of 3D space (tradition of the Renaissance)

> STYLE: IMPRESSIONISM

● MODERN STYLES
○ CLAUDE MONET:​ Realism
■ Sunrise
○ EDOUARD MANET: ​Realism
■ Luncheon at the Grass
1. MODERN
1. ordinary French woman in the nude
2. ACADEMIC
1. Space: use of perspective - realistic space (middle ground: woman bathing, body of water,
boat)
1. vanishing point
2. arrangement of color: 3Dimensional space
3. classical balance of the Renaissance: pyramidical composition
○ WILLIAM TURNER
○ VINCENT VAN GOGH
■ style: expressionistic
■ art to express himself through colors and violent strokes

Modern painting is always a reaction to the classical form

>> ​SCULPTURE

● CONTENT
○ the form of sculpture as Fine Art
○ the end or final purpose of sculpture as fine art is beauty
○ Sculpture as fine art has a value ot’s value os redemptive​FORM
○ transcendental quality of the form: Benedict XVI

> > ​FORM

> ​TYPE

1. 3D or In- the - Round ( Free-standing sculpture)

2. Relief
1. Low or Bas relief
2. Mid-relief
3. High relief
> ​TECHNIQUES OR PROCESSES

1. Carving
1. subtractive
2. Modelling
1. additive
2. start with a material then build on it
3. Casting
1. involves creating a mold
2. melting and pouring of molten material onto the mold
3. breaking of the mold to reveal the form
4. Assemblage

● PRINCIPLES
○ Orientation
■ frontal, multi-focal
○ Proportion
○ Scale
■ how part influences another part
■ size of one object in relation to another
○ Articulation
■ how the parts are jointed or disconnected
○ Balance
○ Movement
● THREE MEN WALKING II
● KORE
○ Style: Kore
● ELEMENTS & PRINCIPLES OF DESIGN (SEE PIC)
● ELEMENTS
○ 2 PRINCIPLE ELEMENTS IN ADDITION TO MOVEMENT
1. ​MASS OR VOLUME​:
1. sculpture’s bulk
2. the solid bit contained within its surfaces
3. solidity of a sculpture
1. OVAL WITH POINTS
1. Artist: Henry Moore
1. important element: the bulk / mass
2. THREE MEN WALKING II
1. Artist: Alberto Giacometti
2. Style: Modern
4. Articulation
1. the way the parts are jointed
2. SPACE
1. the air around a solid sculpture
1. ECSTASY OF ST THERESA
1. Artist: Gianlorenzo Bernini
2. Style: Baroque
3. MOVEMENT
1. motion
1. APOLLO AND DAPHNE
1. Artist: Gian Lorenzo Bernini
2. Medium: Marble
3. Style: Baroque
2. BIRD IN FLIGHT
1. Artist: Constantin Brancusi
2. Medium: Marble
3. 1923
 3. DAVID
1. Artist: Michaelangelo
2. Style: High Renaissance
2. activity
3. shifts
4. rhythm
● GILSON’S BOOK
○ Page 82: Statuary
■ beauty of the form in David is already in the medium (marble)
● SCALE
○ the size of a sculpture
● PROPORTION
○ classical canon of proportion (the Canon) by Polykleitos of Argos
○ relation of one part to another figure
1. Kore or Kora​i: female figure in peoplos or chios

>​ GREEK SCULPTURE ACCORDING TO STYLE​ - ​I. GREEK STYLE

1. ARCHAIC STYLE
1. Kouros or Kour​i: nude made figure
1. one leg steps forward
2. bulging eyes
3. archaic smile
4. clecned fists
5. vertical, rigid stance
6. closed form
7. stylized hair
● no extending arms or legs

b. ​Kore or Kora​i: female figure in peoplos or chios

● wears a gown (chios: more fluid more folds with lines more fluid or peplos: simpler)
● in the round but fronta;
● important element: orientation, where it can be accessed from
1. CLASSICAL OR HELLENIC STYLE
● Polyclitus and His Canon of Proportion
○ Emphasis on the scale and proportion
○ Canon of proportion to present the human figure —> POLYKLEITOS —> IN THE EXAM
■ length of the body should be 8x the size of the head
○ relaxed and weight bearing group of muscles
○ principle of balance
○ clarity, balance, completeness
○ WORKS OF POLYCLITUS
1. Spear-bearer
2. Discuss-bearer
3. Athlete Tying on a Fillet
1. balance between the relaxed muscle group and the engaged muscle group
● OTHER SCULPTURES
1. Belvedere Apollo
■ contrapposto position
■ draperies
■ stoic expression natural stance
■ open form
1. Myron: Discobolus Thrower
2. Phidias Elgin Marble, East Pediment
3. Lysippus: Scrapper
4. Alexandros of Antioch: Venus de Milo (classical)
5. Roman Copy, Marble Statue of a Wounded
3.HELENISTIC STYLE

1. Ludovisi Gaul and His Wife

2. Seated Boxer
3. Nike, Winged Victory

4.ROMAN SCULPTURE

● founded upon that of the Greeks

● ROMAN PORTRAITURE
○ Trompe L’oeil: trick the eye
1. AUGUSTAN PORTRAIT TRADITION
1. draperies

> ​SCULPTURES

1. PIETA
1.Artist: Michealangelo
2.Style: High Renaissance
1. Our Lady with Jesus Christ
1. deep sense of sorrow at the same time at peace
2. tranquility and peace is highlighted as if Mary accepted the fate of her son
2. distorted scale and proportion
1. head of Mary is too small compared to the body
2. triangular shape of the figure
1. FORM​: figure is stable: creates a good support for the figure of Christ
3. Made of marble
4. Classical Balance
3. Unknown Artist
1. Normal scale and proportionate figure
1. Agitating and painful to look at
2. brutal representation of the death of Jesus
3. suffering of Mary is felt
2. ECSTASY OF SAINT THERESA
1. Artist : Bernini
2. Style: Baroque
3. Space: impact on the aesthetic of the sculpture
1. altar
2. space of worship
3. DAVID
4. WATER STONE
1. Artist: Isamu Noguchi
2. Style:
3. Year: 1986
4. element of time & sound