I. The painting Giovanni Bellini's the Madonna of the Meadow.

this is a
Renaissance painting from Venice. It presents a medieval iconography of the
Virgin of humility situated before a full and sparkling rural panorama, with
both the reverential angle and the scene viewpoint given to equivalent
noticeability. Brimming with little subtleties of regular day to day existence,
this scene adds to the private and recognizable tone of the two figures. The
vulture in the tree likewise conceivably represents demise. The figures'
postures welcome reflection on Jesus' demise and energy, reviewing Pietà
synthesis with the dead grown-up Jesus in his mom's lap.

II. How this painting fits in with the history of paintings of the Madonna and
Child. I am getting to mention scale, composition, pictorial space, form,
line, color, light, tone, texture, and pattern. Let’s start with the
difficulty of scale. Here I can mention the size of the painting, and
therefore the scale of the figures, and what I see within the painting. for
instance, see a little person figure who is looking during a painting. But
that person fills a 3rd of the frame. which brings us to the composition.
Not only does that person fill a 3rd of the frame, but the clothing that
person wearing, the drapery spreads out across rock bottom length of the
painting. Creating, in essence, a pyramid. the bottom of a pyramid is
broad. And pyramids are a stable form. I also notice that the kid in her lap
is contained within the pyramidal shape of her body. So, there is an
intimacy that is created between the feminine figure and therefore
the child. The artist has placed her very on the brink of the foreground, in
order that she towers over the horizon line, and is clearly the first subject.
But there is also a big amount of landscape that surrounds her,
that, during a sense, frames her. Bellini has created this pyramidal
foreground, ahead of a series of what are horizontal bands,
that withdraw into space. So, I even have this echoing of forms, that
helps to unify the composition. allow us to turn next to pictorial space. I
should acknowledge that I am watching a flat surface. allow us to start
with the figure, she is seated on the bottom with the kid on her lap. So, I
have, immediately, a way of 1 thing ahead of another due to overlapping.
But additionally, the pictorial space is defined by what i might call
atmospheric and perspective. Let’s turn next to the question of form,
instructive to believe the variability of sorts of form that the artist is
representing. I even have the natural forms, I even have trees, and grass,
and fields, and mountains, and clouds. I even have figurative forms, the
Madonna and Child within the foreground, but I even have built forms, I
even have the architecture within the background. a number of these
forms are rounded and curvilinear, just like the Virgin Mary and therefore
the Christ Child, or maybe the clouds. and a few of them are
rectilinear just like the architecture within the background. a few of them
feel very solid, just like the figures within the foreground. and a few of
the forms are much more delicate, check out the handling, for instance, of
the leaves on the trees. Now, form is usually defined by line. for instance,
separating Mary Mary's drapery from the grass that she sits on. and that
I even have places where I even have a line on its own. the road is
additionally sometimes the corners of forms; I am watching the road that
forms the sting of the squared turret. Next is about color. One is
instantly struck by the rich blue of the Virgin's mantle. But also, the deep
blue of the sky. which contrasts with the world colors, the browns, and
therefore the greens that I see within the fields around and behind her.
There are essentially three main color groups. there is the brilliant blue of
the Virgin's mantle, of the sky, of the mountains. there is the red of her
undergarment. then there are the yellows of the flesh, of the fields, and
 of the architecture. and therefore, the texture is intimately associated
with the materials that the artist is using. Which is  compatible to the
depiction of various textures. allow us to talk next about patterns. you
would possibly not expect to ascertain a pattern during a landscape,
which is crammed with natural forms because the pattern is that
the repetition of a form repeatedly. Often to make an ornamental field.
Here, I see ornamentation within the Virgin Mary's blue robe, I see some
gold embroidery. But if you look closely, there is a soft, organic pattern,
especially within the foreground, within the foliage. I see the repetition of
leaf forms, and grass forms, that look almost sort of a carpet, sort of
a decorative field, then the unruliness of nature. And one among the
results of the pattern is that it is often in conflict with pictorial space, with
the illusionistic depth that the artist renders. And even here, it seems as if
that greenfield stands up a touch bit, during a way that reminds us
that this is often actually a two-dimensional surface.

III. I see white in the shawl that she wears around her head, and in the
clouds. So, Mary relates to the heavens. Color is in some ways a
function of sunshine, and here the artist has created a way of the broad
light of a transparent day. The light from the sun seems to be coming
from the left, maybe a touch bit forward from the figures. And high in the
sky. And I see the clouds illuminated from above, there in shadow below,
similarly with the Virgin Mary, look at her right forearm, it is illuminated
from above, but in shadow below. And so, the artist has taken pains  to
make a uniform of use of sunshine and shadow. That is, shadow is
usually in accordance with the source of that light. Look at Virgin Mary's
face, her right cheek is illuminated, but the left side of her cheek is in
shadow, and I have the sense of moving tones from light into darkness,
but light and color are both closely related to tone as well. And tone
refers to the quantity of sunshine and darkness during a color. And I can
see that in many parts of this painting, I can see it in the cloak of the
Virgin Mary, but it is probably most subtly handled in the representation
of flesh. Looking at the gorgeous rendering of Mary Mary's face, and
therefore the smooth brushwork, makes me conscious of the variability of
textures within this painting. And the contrast that the artist is creating
between the graceful textures of the flesh, or of the material that the
figures wear, as compared to the rough, pebbly surface that I see in the
middle ground.
IV. By looking at scale, at composition, at pictorial space, at form, line, color,
light, tone, at the textures and the patterns, I have an opportunity to look
closely at the painting. The effectiveness of the paintings today is we can use
it as a reference to create many paintings in a beautiful manner or in a
colorful way without confusing the audience and right now most of the artists
only use one color and sell it for a million dollar. The artists use his fame to
gain money without a meaning in the artists painting.