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Artist: Fra Angelico

Year born/year died: 1395-1455

Influences/Style associated with this artist: the influence of the particular artist is depicted by the portrait basis and enhancements. It is more naturalistic in presentation nature and content. Through this style, the artist is able to capture the youthful Greek representation and noble process of a ruler. He also depicts the youthful agenda of artwork.

Title of work: Julio-Claudian

Background info on work: the work is based on a portrayal of a young prince within the roman culture before the ages of civilization. The perception and use of portraits was common before the fifteenth century and used the Greek marble as foundational material (Kleiner 2007, 16). The height is of five and half inches as part of the great art from Mediterranean course. It is credited with miniature depiction in artwork analysis as well as youthful exuberance in its creation.

Critical Analysis of the Work:

Line: The artist uses solid marble base and material for firming.

Shape/Form: The shape is in portrait with ordinary course in finesse.

Color: the earthen colors used in the portrait, with the shades of brown and dusted gold. They are partly in form of the local coloring in Mediterranean art.

Value created: vertical brushstrokes in the facial delivery and use of smooth edges fro the youthful base. The stylistic emphasis of the elements is veristic depiction of the portrait with added importance on every wrinkle and bust.

Texture: coupled with coarse texture on the facial portrait, the effect is also delivered on the wrinkles at the side and back.

Artist: Lippi Filippo Fra

Year born/year died: 1406-1469

Influences/Style associated with this artist: the influence of the particular artist is depicted by the tempera panel style. It is basic on the model foreground and influential depiction of the mythical Madonna and child. The style was then associated with Lippina dimensions or angelic representation.

Title of work: Madonna and Child

Background info on work: The work is based on portrayal of Madonna and child on a tempera plane. It was created within the 1465 period and is in form of a painting. The dimensions are ninety-two centimeters by sixty-three point five. It is credited to Samuel H. Kress collection with an identification number 1939.1.290. It is a roman influenced artwork and represented the use of poplar plane and provenance (Ciatti and Frosinini 2008, 14).  

Critical Analysis of the Work:

Line: simple and one-layered lines on the brush strokes as used in the painting

Shape/Form: the course is gentle and naturalistic.

Color: Varied earthen colors, ranging from brown, blue, and white at representation of the human characters. Additional accessoriesconsidered with local coloring and stylistic influences of the roman culture.  

Value created: the foreground is bright as the background is delivered in hue with the overlooking skyline and rock boulders.

Texture: The texture created by the painting is fine and even with the use of earthen colors all through. The transition between the characters is testament to bambino requirements.

            “Julio-Claudian” and “Madonna and Child” share similarities in the form of representation and culture depicted. During the development of the two paintings, they were guided by use of locally available coloration as well as the traditional cultural requirements. Demarcation between the different figures is well used and the incorporation of pallets is important for relevance according to the fifteenth century (Moshenska 2014, 1). The predominant focus on the meaning created helps in identifying the ancient form of panting without a particular focus. For example, “Julio-Claudian” symbolizes the youthful exuberance of the leader while “Madonna and Child’ symbolize the close relations and importance between paternal and offspring roles.

            The two paintings show distinct differences in their composition. “Julio-Claudian” painting is influenced by the Greek culture while “Madonna and Child” is from the Roman origins. The former is in form of a portrait while the latter does not differentiate the human form depicted. “Julio-Claudian” encompasses a greater base for its support and has expression of wrinkles with layered texture (Pop and Widrich 2014, 1). “Madonna and Child” on the other hand had distinct transition of a finer course as compared to the other painting. The central view of “Madonna and Child” has brighter palette and demonstrates bambino requirements while “Julio-Claudian” is more adept to panels of the tempera modes. 


Ciatti, Marco, and Cecilia Frosinini. 2008. “Imagine antica”: Madonna and Child of Santa Maria Maggiore in Florence: studies and restoration. Florence: Edifir.

Kleiner, Fred S. 2007. A History of Roman art. Victoria: Thomson/Wadsworth.

Moshenska, Joseph. 2014. Feeling pleasures: the sense of touch in Renaissance England.

Pop, Andrei, and Mechtild Widrich. 2014. Ugliness: the non-beautiful in art and theory.

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