Lamentation by Byzantine Painters and Jacob Cornelius

Lamentation by voluminous createers and Jacob Cornelist. van Oostsanen So- called Lamentations be generally scenes of great soberness and sadness. involved painters and Jacob narrates the same narration with different style of painting and in different period. Both painters strove to shop utterly convincing an emotionally charged realization of the theme. Both artists presented bereavement scene in more a natural setting and nation in the image are fully modeled. They included crying bloody shame and different religious representation to tell their audience the story is taken from bible.Both painting share the same biblical subject to that extent differ in a significant ways that order their individual embodiments of the 12th and 16th coulomb styles. Byzantine painter presented their work on the wall painting style in the church, which is one of the oldest in Macedonia and was built and multi-colour in 1164 under the patronage of Byzantine prince Alexios Komnenos. T he church is nigh famous for its exceptional fresco paintings, which convey dramatic facial expressions and emotions not commonly found in Byzantine art.It was dedicated to saint Panteleimon. Byzantine painters embellished the church of saint Pantaleimon with murals of great emotional power. One of these, Lamentation, is a paint of passionate grief over the numb(p) saviour. This scene actually represents a novelty in Byzantine wall painting because of its dramatic realism. This masterpiece narrates the history in a New Testament. Central place in the composition of the drama takes the Nazarene while Joseph Arimatean, Nicodemus, Mary, and John are participant. divine mother of God kissed the doomed face of the Nazarene, Joseph supports the consistency of Christ, John, who is the beloved apostle of Christ, exercise set down and he took the Nazarene hand to put it on his face, and Nicodemus who kneeled and with twain hand he hold the pliers with which retrieves nails of the feet of Christ nailed to the cross. The painting shows their attitudes, expressions and gestures of sadness. symbolic representation of the Virgin Mary to her dead son is handed realistic, real-life scene shown, with an violence on human intents. She is closest to Christ body than other Jesus fol dispirits shown on the image.She put her right hand under Christ neck and the other hand just below his chest. She put her face against her dead son. Looking at her face, I can see she is break emotional and cannot hide her feeling and grief instead she showed it by crying. John, who was the Christ disciple, similarly shows his deep feeling and sadness through his facial expression. The body of dead Christ also spend a pennyly shows he is dead. His body is proportional, cut and relaxed and his eyes are closed which reveal he is dead. The image of dead Christ doesnt show his suffering distinctly.His body is muscular and clear of any wound. The wall above this scene is painted with blu e color, which represents the slope color. In the sky thither are angles watching over dead Christ. The main focus of the painter of this masterpiece is the lamentation, which describes the deep emotional feeling of Christ followers because of death. The actor in the picture showed emotional jounce of Christs death for viewer. On the hand, the Holland woodcuts and painter of sixteenth century called Jacob Cornelisz Van Oostsanen presented the same scene with significantly different way.This work was painted using tempera and oil on panel. In the byzantine painters particular attention is the lamentation of Christ and the emotion of his followers but here in the Van Oostsanens the emotional outpouring of Mary and Christs disciples seems secondary to the attention paid by the artist to the fashionably ostentatious headdresses and billowing drapery depicted here. He added little to show the paintings emotional impact. Even though byzantine painters are good in showing the emotional impact they did not clearly show the sign were Jesus was nailed on the cross.Van Oostsanen, on the other hand, showed the sign were Christ was nailed to the cross. The Van Oostsanen paint is more decorative with attire and building style, which overshadow the emotional expression due to the scene. On the backwards of the painting in that location are two crosses one with person on the cross and the other cross is without a person and the ladder is disposed against it. The empty ladder is where Jesus was crucified. Most of the actors in this painting are not emotional and Mary is crying but not in reality emotional.The skin color of this painting is more realistic than the byzantine painters used. In Van Oostsanens painting the face of the actors are little disproportionate. They stimulate small and circular face. In byzantine painting Mary is very closely touching her son, however in the van Oostsanen painting she is seance away for her son body and hold her son hand. The an gles are also presented in the byzantine painting but in Van Oostsanen there is no angle representation. There is small figure in the lower left, which may represent the person who commissioned the painting.In general, the painter was so talented and able to bring the picture alive with innovative movements, luxuriant, drapery, and careful balancing between relaxation and tension. Just like Van Oostsanen painting, Byzantine artist also showed the event around them through engraving to declare visual proof of emotion of human affection. The two painting are well done to show the lamentation of Christ. Although these artworks are done in different location and period, there are huge similarities in recounting the biblical story. Both painters showed us the emotional human expression.