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Week XIV The Cult Of The Virgin Jonathan Riehn In the oak artwork of France Virgin and Child in 1150 to 1200 AD distinct contours and curves are used to bring the viewer closer to Mary and her child of Jesus This piece uses the oak to create an orderly and structured artwork using polychrome paint for its cover In the gilded silver artwork of France Virgin and Child in 1339 AD the abrupt but flowing curves in around the sculpture give off a more real life emphasis in the emotion and detail between Mary and her child Jesus It also shows the signs of flowing movement in the sculpture This is a masterful piece that uses a non-structured basis to bring depth and reality to the sculpture Both these pieces are a portrait of Mary and her child Jesus but use different styles and techniques to convey a different message to the viewer In this paper I will discuss these key differences in technique and what each of sculptures were trying to portray to their viewer in each of the sculptures Both art pieces can be understood by looking at the message they are trying to convey to the viewer In the first artwork made of oak Virgin and Child at first glance you see a simple non-chalant and static expression Both Mary and her child Jesus have a blank and conserved expression that leaves the viewer a feeling of humbleness and virginity The simplicity of this artwork makes it easy to at first sight understand what the sculptor is trying to portray to the viewer It at the same isolates the viewer from the scene In the second artwork made of gilded silver however you see a loving and affectionate expression between Mary and her child Jesus This affectionate expression leaves the viewer in awe of the tenderness and beauty of the scene It also emphasizes the concept of motherly love bringing
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