Roman Pieta, Marble Sculpture and Christ of St. John of the Cross Essay

Roman Pieta, Marble Sculpture and Christ of St. John of the Cross - Essay Example The essay "Roman Pieta, Marble Sculpture and Christ of St. John of the Cross" discusses that two pieces. This essay will show that they are more alike than their physical and factual differences might suggest. Pieta: This is to be found in the first chapel on the right of the entrance in St. Peter's Basilica, Rome, Italy. A pyramid formation, its dimensions are 68.5† x 76.8†. Using chisel and white marble, Michelangelo created something extraordinary. The triangular pyramid connection reflects the emotional, physical and psychological impact of the piece on the onlooker. These responses are aroused by looking at how the limbs and clothing of the figures are interwoven, curving and blending into each other. The mother's head leans forward, while this is balanced by the way in which the son's is tilted back; her left hand reflects the movement of his left leg. As her right hand holds his head, his completes the circle of contact by holding onto his mother's clothes, his arm resting on her knee. The wholeness of the piece both visually and emotionally portray the bonds of love between mother and child, Church and believer. Though the figure of Mary is huge in comparison to the form of Christ, the impact of this is insignificant due to the beauty of the figures; despite the fact that this mother is holding her dead child, the suggestion is implicit that resurrection and salvation are promised, that beauty is indestructible in the fact of death, agony or sorrow. This is the message and the power of Michelangelo's art.... The artist uses chiaroscuro to dramatic effect, as the crucified Christ seems to move from light to darkness and light again. The scene below him might be understood to signify the 'world', or at least that part of it known and loved by Dali himself. There is no doubt that the light, the hills, the boats and figures are depictions from Spain's Costa Brava, one of the places where he lived at the time of creating the work. Dali was often reported as stating that he dreamed the scene, and was driven by his visions to create a Christ with no thorns, no nails in the hands and no blood. Instead, he wanted to give us a magnificent physical yet metaphysical King of the World. In that, he departed from the more traditional representations of Christ on the Cross . The viewer is looking down, like Christ, the eye is drawn to what Christ is observing and the anatomical perfection of the body calls to mind classical statuary and life drawings. The shadow created by the arms and the cross make a triangle within a triangle and the light surrounding the figure seems to diffuse and re-emerge to illuminate the heavens, and the Earth spread at it's feet. The triangular motif is repeated in the response the picture calls forth, the physical, psychological and emotional are united; here is man, the universe and God, captured in an almost holographic, three dimensional image. This piece signifies Dali's great skill and u nique imaginative power. Comparisons: From a personal viewpoint, there are many comparisons, the chief of which may be the outstanding beauty of the figures of Christ, and in the Pieta, of Mary. The point and