Search

This article discusses the relationship of light and art in religious architecture dating from the period between the 16th and 18th centuries. The author comments on the artistic periods known as the Baroque and the Renaissance and describes their inclusion in religious art and architecture. She also considers the use of space in Baroque and Renaissance religious artworks. The mathematical characteristics, including geometrical designs, are examined, and the use of natural light within these art pieces is also analyzed.

The article presents information regarding the French expressionist painter Georges Rouault, with specific attention to the religious motivations and themes of his work. The author asserts that Rouault's art cannot be separated from his faith, and the article explores themes of pain experienced by humanity, piety and various representations of God. Works analyzed throughout the article include "El payaso herido I," "Cabeza de Cristo" and "En tiempos negros de provocación e incredulidad, la Virgen de Finisterre vigila." The pieces focus primarily on representations of Jesus, the Virgin Mary and the condition of humanity.

The article presents an art criticism of the painting "Pietà," by 16th century Venetian artist Tiziano Vecellio (Titian). It describes the artistic and technical details of the painting, notes the iconographic references, and discusses their theological significance. It offers a brief comparison of Titian's painting with Bellini's "Pietà." A full-page reproduction of the painting is included.

This article discusses the incorporation of elements of light in modern religious architecture.