Compositionally, Marconi's work is very well organized and planned to evoke emotions in his viewers. There is no dull aspect of the painting that makes it less visually appealing. Furthermore, the way the figures are positioned is logical for a religious painting. Just like many Renaissance paintings, the placement of the figures is what matters most because it shows the value of each element of the painting. Christ was in the center right of the painting and is looking towards his left. The position of people around Him is an indication that He is God. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay In terms of the colors used in the paintings, it can be noted that the colors in general are not very bright, with the exceptions of some people's clothes. However, one of the most striking aspects of the painting's color is that Christ's clothes are a very bright red, while the woman is the brightest and most beautiful person in the painting. There are other red colors in the painting, but only the red of Christ's clothes is the brightest and most vivid. This appears to be a symbolism of the blood of Christ – the blood He shed for the world to be forgiven of its sins. In short, the scene is as if Christ offered himself once again to save a woman. Furthermore, the adulteress was the whitest character in the painting. White is often related to purity of heart and soul. It seems that Marconi wanted to show in this painting that even an adulteress can be a pure person if she submits to go and ask for forgiveness. These visual cues are what make Marconi's message even more interesting. Upon literal examination, a person would say that perhaps Christ is judging the woman. However, a deeper analysis of the painting shows that it could mean many things. One of these is that Christ is a loving and forgiving God. The use of lights and shadows instead complements the dark background of the scene. Since the background of the scene looks very blue and dark, it is very likely that the scene takes place in the evening. Furthermore, the yellowish tone of the skin of people illuminated by some form of lighting is most likely a yellow light source, which signifies fire. Fire is such an emotional light source because firstly it cannot be placed above people and secondly it creates strong shadows in unlit places. This is why some figures have half their faces dark and in shadow. Even the spectators behind Christ and the other major figures seem enveloped in a light shadow. This seems like an indication that these people are the human manifestation of how people view the Catholic Church and sinners. They are quick to judge anyone who goes against the teachings of the church, but they would also judge the church if they did not persecute those who commit sins against God. As for the figures present in the painting, many people play specific roles and symbolism. Jesus Christ is positioned in the center right of the painting, facing a man wearing a red hat and some sort of red clothing. The man Christ is talking to seems to convince him that the woman should be punished, and this possibility is reinforced by the idea of ​​the man behind the man in the red suit, looking at Christ with an angry face – a knife in his hand. The way the man holds the knife indicates anger towards the adulteress. In the center left of the painting is the adulteress: a blonde woman wearing orange clothes and a rope around her wrist. Behind this woman is a man wrapping his arm around the woman's waist. Since this man appears older than the woman, one cansay this man is her father, or the man she was cheating with. Other figures behind the main characters play a supporting role with their reactions seemingly related to the judgment that Christ gave to the woman. From the poses of the figures in the work it can be deduced that Christ is a decisive man. His gestures – his hands and body towards the woman, and his face towards another person who seems to convince him to punish the adulterer – symbolize God's grace. Christ's facial expression also indicates that he does not he is convinced of the man's ramblings about the adulteress. The adulteress, on the other hand, is in a submissive pose. More specifically, his head is lowered towards Christ, but he is looking directly at him. Her hands seem to be tied by some kind of rope, which is something like a symbol of the fact that she has surrendered herself to God and his mercy. However, for the man who approached Christ, his pose is very aggressive because his back is facing the audience, which shows disrespect. He also appears to be leaning forward towards Christ, which seems like an aggressive act to show that he doesn't like what Christ is doing. However, the face of Christ does not seem to harbor any emotion for man. He knows that He is the God in the situation and that no man can make decisions for Him. The gestures of the figures in the painting are the most important aspect of Marconi's work because they give the painting more meaning than what is visually obvious. More specifically, Christ's right hand being right in front of the adulterer's face forms a gesture often found in the Catholic Church. This hand gesture gives the feeling that Christ is blessing the woman or perhaps forgiving her sins. It seems that Marconi is sending a message to the people of the Catholic Church that all are welcome in the arms of Christ because he can and will forgive anyone for any sin. That is, as long as a sinner is willing to come to him and ask for forgiveness. Visually, Marconi's work is not one of the best Renaissance works of art for its time. "Christ and the Adulteress" is a good work of art, but considering the thousands of other works of art and painters present during the Renaissance, Marconi's work is far from being one of the best. Some figures seem to stand out more in the scene than others. Even the brushwork is not the most refined. The shapes aren't the best in terms of fluidity, with many rectangular and polygonal shapes appearing in people's clothing. Compared to other Renaissance paintings, Marconi's work seems like an attempt at realism, but it was not achieved in the painting. Comparing it to paintings like that of Simon Schama or Rubens, Marconi's work is crude. However, this may be his personal style. After all, there are painters like Rembrandt who don't make fine works because it's part of their artistic style. Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay Overall, “Christ and the Adulteress” was most likely a way to show people during the Renaissance period that the church was still with them. This is due to the powerful religious symbolisms present in the paintings, which was l 'opposite of what happened during the Renaissance, people began to lose faith in the church due to the ongoing wars with England and France Although there is no certainty that Marconi was a supporter of the Catholic faith, this painting seems to send the message that God can forgive people, even those who have committed a serious crime. You see, adultery as a sin in the Catholic Church is a grave sin, one of those.