To this end, the composition is clearly divided into three sections: the earthly realm where the apostles stand; above this the Virgin being borne aloft by sweeping clouds; above the Virgin the glowing dominion God the Father. The composition was influenced by Melozzo da Forlì's perspective and includes the decoration of the dome base, which represents the four protector saints of Parma: St. John the Baptist with the lamb, St. Hilary with a yellow mantle, St. Thomas (or Joseph)[1] with an angel carrying the martyrdom palm leaf, and St. Bernard, the sole figure looking upwards.

Below the feet of Jesus, the uncorrupt Virgin in red and blue robes is lofted upward by a vortex of singing or otherwise musical angels.

The same subject was depicted by Carracci on the altarpiece of the famous Cerasi Chapel in Rome. You don’t have to be a Christian to smile at this painting; you don’t even need to believe in heaven to understand where the woman on the cloud is going to.

Correggio signed the contract for the painting on November 3, 1522.

The Assumption of the Virgin is a painting by the Italian Baroque artist Annibale Carracci which was completed in 1590 and is now in the Museo del Prado in Madrid. Titian painted the Assumption of the Virgin in around 1518, when he was 26 years old or thereabouts. The Emperor Charles V on Horseback, Titian. Many significant works of art depict the Assumption of the Virgin Mary.

Chilled, glorious interiors, simple hall-like spaces whose walls are lined with chapels and tombs and great oil paintings. Among many other works, Correggio's Assumption inspired Carlo Cignani for his fresco Assumption of the Virgin, in the cathedral church of Forlì; and Giovanni Lanfranco's fresco of the dome in the church of Sant'Andrea della Valle in Rome.

Titian was most unusual, and indeed unique, in his using of oil ground paints, that were gathered mainly from linseed oil and turpentine. God is shown as a diagonal cleft in the golden ether. Her arms are outstretched toward the bearded God in the top layer.This top layer slants slightly down at the right, hinting at Titian's larger vision that Mary ascended in a spiral of clouds and heavenly beings.Movement and energy: From Mary herself to the gesticulating Apostles on the ground, this painting is dynamic.

The tale of the Virgin’s death and subsequent heavenward ascent — supposedly three days later — has its source not in the Gospels but in the apocryphal literature of the 3rd and 4th centuries. The illusionistic manner in which the figures seem to protrude into the spectators' space was, at the time, an audacious and astounding use of foreshortening, though the technique later became common among Baroque artists who specialized in illusionistic vault decoration. We see Saint Peter kneeling upon the floor as if in prayer, and Saint Thomas can be clearly seen pointing towards the Virgin. Many ancient religions prospered under the reassuring presence of a mother figure, a Mater Amabilis, which acted as a stabilising force and a familial point of veneration. Mary herself — the true focus of the work — stands in a devout pose. But when Napoleon was defeated, Venice's masterpieces were returned and promptly placed in the Accademia where it was believed they would be safer and more accessible.Assumption of the Virgin went to the Accademia as well, but was returned to the Frari in 1919 where it remains today.

Catholic tradition states that Mary did not die but instead rose to Heaven, where she presumably continues to live. It makes you fall in love. Mary herself, surrounded by angels, is the primary occupant of layer two. Titian’s overall handling of light and space is masterly, as is his depiction and variety of human forms.

Her drapery twists around her as if caught by a breeze, emphasising the energy of her ascent.

For the Christian Church, the Virgin Mary emerged as the Purissima or ‘most pure’ of figures.

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