{"id":1412,"date":"2021-10-14T16:30:13","date_gmt":"2021-10-14T16:30:13","guid":{"rendered":"https:\/\/web.colby.edu\/ar257-fall2021\/?p=1412"},"modified":"2021-10-14T16:30:13","modified_gmt":"2021-10-14T16:30:13","slug":"10-12-reflection-2","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar257-fall2021\/2021\/10\/14\/10-12-reflection-2\/","title":{"rendered":"10\/12 Reflection"},"content":{"rendered":"\n<p>In class on Tuesday, we discussed two pieces Scenes from the <em>Life of St. Ursula: Arrival of the English Ambassadors and St. Ursula with her Father<\/em> and <em>The Communion of the Apostles<\/em> + <em>Miracle of the Profaned Host<\/em>. Both of these artworks find ways to bring the viewer closer to the composition compared to earlier Northern and Italian Renaissance works. In Carpaccio\u2019s piece, he positions the viewers close by railings and places other spectators on the other side of the railing, mirroring each other. This gives viewers a clearly defined place in the painting. Viewers are also placed closer to the subjects in Paolo Uccello\u2019s <em>Miracle of the Profaned Host<\/em> where he incorporated a <em>predella<\/em>, a painting on the bottom of the altarpiece. In both of these pieces, we see a move towards artwork becoming closer and approachable to the viewer. Both of these artworks also depict the movement of time taking place in the scenes through a left to right progression of the scenes and the same subject is wearing the same outfit to show continuity.&nbsp;<\/p>\n\n\n\n<p>Finally, I also felt the difference in the main focus between the two latter artworks to be interesting. Carpaccio\u2019s piece includes two scenes with one scene taking up the majority of the panel. On the other hand, Memlinc\u2019s piece includes many smaller scenes; however, it tells a\u00a0 more complete narrative.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In class on Tuesday, we discussed two pieces Scenes from the Life of St. Ursula: Arrival of the English Ambassadors and St. Ursula with her Father and The Communion of the Apostles + Miracle of the Profaned Host. Both of these artworks find ways to bring the viewer closer to the composition compared to earlier [&hellip;]<\/p>\n","protected":false},"author":10186,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1412"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/users\/10186"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/comments?post=1412"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1412\/revisions"}],"predecessor-version":[{"id":1413,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/posts\/1412\/revisions\/1413"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/media?parent=1412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/categories?post=1412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar257-fall2021\/wp-json\/wp\/v2\/tags?post=1412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}