In my opinion, the artist is trying to convey the harsh truth of what was happening in this time frame. Since not everyone could be nobles or wealthy landowners, Van Ostade was probably showing what the majority of the population was going through. This would have been see by the people passing by on the streets, but probably not seen by the wealthy. As a reader, this engraving puts the events of the century into context. Teachers and professors lecture about all the wars and bloodshed due to the famous wars, but rarely go in depth into life as a peasant. It is important to know both sides to a story to fully understand the whole picture. The events in this particular year (1653) would have been described very differently depending on whose point of view you were looking from. From the nobles, it was a time of exploration and new scientific discoveries, but from the peasants, it was a time of hardship and bad living standards. I believe the idea behind studying this is to show and symbolize the idea that there are always two sides to every story.…
He was a greatly influenced by Caravaggio. In 1610, van Honthorst, moved to Italy to study Caravaggio’s realism and dramatic use of artificial light (Gerrit van Honthorst). Caravaggio is one of the most widely imitated artists in the history of Western art. Many of Caravaggio’s followers, including van Honthorst, were particularly interested in Caravaggio’s paintings of the underbelly of Rome’s street-life (Benay). His followers were most likely struck by Caravaggio’s ability to grant subjects dignity that was not necessarily consistant with the lowly actions shown in the painting (Benay). The image, Smiling Girl, a Courtesan Holding an Obscene Image, clearly shows van Honthorst’s use of Caravaggio’s technique of making subjects that were engaging in unseemly behavior still look dignified. Gerrit van Honthorst returned to the Netherlands in 1620, after studying the methods of Caravaggio. Van Honthorst stayed in Utrecht until 1627. Although van Honthorst continued to paint using Caravaggio's techniques in his works, by 1624 a number of his painting began to depart from the usual stylistic formula of his fellow Caravaggisti; artificial illumination was used less frequently in his major compositions (Errata: Gerrit van Honthorst: A Discussion of His Position in Dutch Art, 1962). Van Honthorst’s most significant contribution to Dutch art was his leadership, of the Utrecht followers of Caravaggio. It…
The painter, Jan Van Eyck was “first Netherlandish painter to achieve international fame” and he uses oil painting (Gardner 221). First of all, his family was into art also including his family members. According to the ArtHistory.net, “he was taught art by his older brother Hubert van Eyck; later, the two brothers would collaborate on The Ghent Altarpiece (1425-1432) which Jan would be obliged to complete alone after his brother’s death” (arthistory.net). His brother started teaching him about art. Jan Van Eyck was born on 1390 and died on 1441. He lived during the French Revolution which destroyed the church as he died. Also, he “entered the service of the powerful and influential Valois prince, Duke Philip the Good of Burgundy” during his…
painted by Jan Van Eyck known as a God Panel known as the Ghent Altarpiece, made around…
Van der Weyden compresses in this painting the most important story of the humanity with a maximum amount of human emotions and suffering. The Deposition is among the outstanding masterpieces of Netherlands' art, and one of the mainstays of Rogier's fame. As the work of a painter aged 35 to 40, it can hardly be described as a youthful production, yet only with this painting can we begin to see Rogier more clearly as an artistic personality. Most important of all, the picture shows unmistakable similarities with some of his major work…
He’s specialized in small devotional paintings for a ready market in Antwerp and other Flemish cities. He created many works of art, most of which are religious paintings. Some of his works include St. John the Baptist and Christ as the Man of Sorrow. Christ with the Crown of Thorns, and Madonna and Child. His rich and complex iconographical elements create a heightened sense of contemporary beliefs and spiritual ideals, morally the works express a fearful outlook, combined with a respect for restraint and stoicism.…
Likewise McLean has utilised particular metaphors to broaden reader’s minds upon the personal experiences of Vincent Van Gogh. The metaphor ‘Portraits hung in empty halls’ proves that Van Gogh’s paintings were unappreciated whilst he was alive. This metaphorical language therefore depicts an image of emptiness towards Van Gogh proving the defining statement that McLean comments on historical and emotional values through the use of imagery.…
In the early 16th century the Netherlands experienced what was called "tulip mania" this was the beginning of the nations love for flora and foliage (Taylor 13). The result of this impressive flower invasion was a society that took a historical turn from which the results still remain today. Flower merchants, botanists and floral still life artists, were occupations that were an accurate reflection of the Netherlands demands (Brown). An interesting example of a life that was effected by, and devoted to the archiving of the flower craze was Rachel Ruysch (1664-1750) the 17th century Dutch flower painter. Rachel Ruyschs ' career straddled the 17th and 18th century, and her stunningly accurate floral pieces reflect the maturing, yet evolving art of floral still life painting ("Rachel Ruysch: Bibliography"). Ruyschs ' Still Life with Flowers on a Marble Tabletop (1716) is an excellent example of a painting that appropriately represents the genre of art that was created solely through specific societal events.…
Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Post-Impressionist painter. He was a Dutch artist whose work had a far-reaching influence on 20th-century art. His output includes portraits, self portraits, landscapes and still lifes of cypresses, wheat fields and sunflowers. He drew as a child but did not paint until his late twenties; he completed many of his best-known works during the last two years of his life. In just over a decade, he produced more than 2,100 artworks, including 860 oil paintings and more than 1,300 watercolors, drawings, sketches and prints.…
In nature, bounteous displays and vivid colors are considered ideal, especially when it comes to flowers. A great example of this is Little Bouquet in a Clay Jar by Jan Bruegel. This is an oil painting of an arrangement of flowers in a modest clay pot. The flowers are extremely voluptuous and bountiful in comparison to the small vase. The flowers take up the majority of the SPACE of the painting, displaying their importance and the ideal that nature is plentiful with beauty. The artist used COLOR in a layering effect of the flower-he used mostly blue, red, and darker yellow flowers in the back so that they can be seen threw the mostly lighter colored flowers in the forefront of the arrangement. This adds to the density and volume of the bouquet. The clay pot, wild flowers, and slugs and bugs all add to the natural and organic feel of the painting. Each flower is painted so intricately and with extreme detail despite the incredible volume of flowers. This attention to detail of each individual flower displays the artist’s appreciation and admiration of the beauty of nature and flowers in particular. This is also evident in the way the artist used LIGHT to bring to life the flowers and really capture their vividness, but yet the gold coins and jewelry in the corner is dull in comparison. This painting is a great example of how the idealistic of nature are displayed in artwork.…
In “The Sower” I see many actual lines. In this piece each line of which are very obviously implying the subject matter and the symbolism of man’s ability to create, which is represented by the sower. The knotty tree in the front constitutes a diagonal division of the piece itself, whereas the piece is visibly wider than it is tall. The line through the middle of the canvas easily separate’s the body of water from the sun setting in the sky. As are the round lines of the sun very prominent. The diagonal line that separates the water from the land is visible, but at first glance is all most blended too well.…
When involved with life’s daily routines it seems as if time on earth will go on without end. Priorities become distorted, but vanitas paintings remind us that life’s journey has an end, and the things we concern ourselves with aren’t all that important when looking at the big picture of life and death. Although the mortality theme is in each vanitas, the artists express their meaning individually with use of color, iconography, and other artistic techniques. Two vanitas that are worth comparing are the Wheel of Fortune that was painted in 1977 by Audrey Flack and Vanitas, painted by Juan de Valdes in 1660.…
The artist, Antoine Vollon, was born in France in the year 1833. He focused primarily on still life painting but also painted figures and landscapes. During his lifetime he enjoyed the status of a celebrity and was widely acknowledged with a great reputation. After completing an apprenticeship as an engraver, teaching himself painting and printmaking, he moved from Lyon to Paris in the year 1859 to further his craft. He was very inspired by the Dutch style of still life painting during that time, which is evident in his own style.…
The Baroque era represented a time of significant emotional and religious conflict due to the Counter-reformation and the attempt by the Catholic Church to regain its membership. Art became a mechanism for the church to reach out to and connect with the masses, and Baroque art began to explore emotional themes that were shied away from during the Renaissance. In particular, Flanders was a region that sought to emulate the emotional quality of Italian baroque using a unique style and innovative techniques. In this paper, two works by Peter Paul Rubens, The Emblem of Christ Appearing to Constantine and Prometheus Bound, will show how both mythological and religious scenes were used to emotionally connect with ordinary citizens during the Baroque…
The painting is inspired by the view outside of van Gogh’s asylum room in Saint-Rémy-De-Province, with an addition of an ‘ideal village’ taking up space in the downward periphery of the artwork. There are small houses and buildings drawn at the bottom of the painting, a half crescent moon at the top right corner and the depiction of a church with a broad steeple.…