Art History Essay

Art History Essay

Jose De Ribera, Martydom of Saint Bartholomew, ca. 1639. Oil about canvas 5. Ribera uses this piece to scorn idealization of any kind. * The episode and violence expresses the harsh times of the Counter-Reformation. 2. We notice Caravaggio’s effect on Margen through the naturalism and drama used in Martydom of St Bartholomew and Caravaggio’s a large number of works. Francisco De Zurbaran, Saint Serapion, 1628. Oil on fabric * Serapion was a English martyr who was supposed to deal with the Moors in Spain, who also ended up being butchered in Algeria. * Why is this part different is actually a complete insufficient violence. There is absolutely no blood or any type of sign of any wound, even as can see his white bathrobe is pristine. * Unlike most martyr paintings which make the subject seem heroic and brave, Zurbaran captures the true helplessness in the saint, successful the viewer’s emotions. Diego Velazquez, Drinking water Carrier of Seville, los angeles. 1619. Essential oil on fabric * This piece records the sociable issue from the rich and poor of Spain in the period. * The contrast of dark and lightweight shows aspects of Caravaggio, who also Velaquez had studied. 5. Although this scene displays everyday life, the care that conveys implies a much deeper meaning. Diego Velazquez, Give up of Breda, 1634-1635. Olive oil on painting * Velazquez aided Philip IV in regaining power by using Surrender of Breda as divulgacion. * This piece has not been only a symbol of Spanish nationalism, but a tribute to Ambrogio Spinola, the Spanish general of this war. * Velazquez’s marriage with Spinola made Surrender of Breda especially historically accurate. Diego Velazquez, King Philip IV of Italy (Fraga Philip), 1644. Essential oil on canvas * Velazquez portrays Philip as a armed forces leader by focusing interest on his outstanding red and silver advertising campaign dress. * The portrait is also called Fraga Philip, because it was painted inside the town of Fraga in Aragon. 2. This family portrait was just another example of Velazquez’s propagandistic photos used for Ruler Philip IV. Diego Velazquez, Las Meninas, 1656. Essential oil on fabric * The application of depth and content with this piece helped prove Todas las Meninas as Velazquez’s work of genius. * The mirror for the back wall membrane seems to be the reflection of the king and queen, meaning they are staying painted on the other hand of the room. * Velazquez actually painted himself because the specialist in the room. Peter Paul Rubens, Elevation with the Cross, 1610. Oil upon panel 2. Rubens utilized elements the two from the Renaissance and of the Italian Extraordinaire to create the first Pan-European style, since seen in Height of the Get across. * The strain is mental and physical, as seen in Christ’s confront and the grief of his followers. 2. The crisis is increased by the strong use of mild and dark. Peter Paul Rubens, drawing of Laocoon, ca. 1600-1608. Black-and-white chalk drawing with bistre rinse * The predominantly dark chalk pulling shows Rubens’ study of classical portrayal of the man form. 2. This part is obviously a revisit with the marble sculpture that represented Laocoon and his sons breaking free from serpents. * Rubens had a big focus on mastering the human body, which will led him to copy time-honored works of earlier learn artists, similar to this piece. Peter Paul Rubens, Arrival of Marie de’ Medici by Marseilles, 1622-1625. Oil in canvas * The piece of art depicts Jessica arriving in France after having a long trip from Italy. * The women waiting for her is a great allegory personified to represent Italy, and the goddesses, Neptune plus the Nereids (daughters of the ocean god Nereus), represent the sky as well as the sea rejoicing her secure arrival. * The surfaces are rampacked with decor to further bring the painting with each other. Peter Paul Rubens, Type of the Break out of Battle, 1638. Petrol on canvas * The gorgeous human forms and strength that take away attention from your chaos with this piece is known as a recurrent motif in Rubens’ other functions. * The Thirty Years’ War was Rubens’ explanation to create Allegory. * Over clothed in black, deprived of her jewels and ornaments can be an unhappy The european countries. Anthony Vehicle Dyck, Charles I Dismounted, ca. 1635. Oil upon canvas * Charles I actually turns his back on his attendants as he looks above his website. * His location upon higher ground provides us the concept he is greater than all of his observers and followers. 2. The california king impersonates as a noble gentleman for a informal walk in the park, nevertheless no one can consider their sight off his regal poise. Hendrick Possuir Brugghen, Contacting of St Matthew, 1621. Oil about canvas * The naturalistic presentation from the subjects echoes the work of Caravaggio. * This piece differs coming from work of Caravaggio since the use of color, rather than extreme contrast of light and dark. * There is a definite claustrophobic effect since noticed by figures getting crammed to a well-lit place. Gerrit Truck Honthorst, An evening meal Party, 1620. Oil in canvas 5. In this painting, Honthorst portrays the deeper side of humanity. 5. The man within the right being fed by the woman is usually interpreted as being a warning simply by Honthorst to prevent the trouble of gluttony. * Honthorst frequently placed a hidden source of light in his paintings, such as Supper Party, to work with violent dark and light results. Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil upon canvas 5. The Archers were among the many militia teams that helped in delivering the Nederlander Republic from Spain. * In this portrait, each gentleman is a troop member however individually not the same as the next. 5. The troop members’ dress further assists create a specific rhythm towards the piece. Frans Hals, The Women Regents from the Old Men’s Home at Haarlem, 1664. Oil upon canvas 5. This part captures the main points of each sitter and their social characteristics. * The women apparently have different emotions all around, coming from complete disinterest to area of issue their environment. * The monochromatic subject of the painting further adds to the painting’s restraint.

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