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Emotions and perception of art
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1. Abigail Mehr 1606
Flowers in a Glass Vase,1704
Rachel Ruych (Dutch, 1664-1750)
Oil on canvas
1. Abigail Mehr 1606 Flowers in a Glass Vase by Rachel Ruych is a fantastic example of linear perspective and the realism an artist can achieve. When looking at the painting, one will quickly notice the surface on which the vase full of flowers sits. If one is to look to the right, they will notice the corners of the table creating diagonal lines that recede into the negative space, thus creating linear perspective. The colors of the flowers painted are in hues of orange, pink, and red, all of which are warm colors. These colors help to reinforce the idea that the flowers are real and literally popping from the canvas. Possibly what makes this painting seem so realistic and in depth is the well thought out use of light and shadow. Chiaroscuro is very noticeable in this painting due to highly saturated and bright flowers up against the dark black background.
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Up in the corner of the painting is what appears to be an angel. This angel’s line of sight travels to the stick in the arms of Saint Joseph. The stick is a diagonal line suggesting that the viewer’s eyes move to the man. Then, his line of sight is focused on baby Christ in his arms. These lines of sight contribute to pyramidal form. Battista emphasizes Christ and Saint Joseph by using high key value to make them appear brighter and more obvious up against the blue background. Most of the painting consists of the primary colors blue and yellow. It is a darker shade of blue, which helps in contrast to the bright intensity of Christ. The pop of yellow in Saint Joseph’s clothing brings the viewer’s eyes to the center of the painting as well, emphasizing the two
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
A couple of symbols that can be observed closely in the middle painting are the lily flower which is Mary’s symbolic flower, the vessel in the niche represents Mary’s womb, the star pattern in her dress is the star of Bethlehem that the Magi were looking for and underneath the window is a little guy carrying the cross, a symbol of Jesus’s crucifixion. In the right painting the symbol of the grapes are inferred implicitly because Joseph is making tools to harvest grapes which are needed to make the wine used in the Holy Communion which then becomes the blood of
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
This painting with the background and middle ground being mono-chromatic and the foreground and focal point being Christ in the two primary colors of red and blue. Mei is basically informing the viewer where he wanted them to look first. In this painting Christ is looking more aggressive, confronting an elderly women. With Christ right hand seems to be threatening as if it is to discipline her with the whip and the left hand restraining her rather than punishing the women. Dividing the composition diagonally with the strong inference of red. Bringing the doves to the bottom right corner. Looking closely you can see there is many hands within the left corner. Amongst them there is hands counting money and protecting their wares in the middle ground. Moving back to the focal point of Christ you can see that the face-to-face confrontation between Christ and the elderly women. Carefully you can see the realism within the facial features. Detail within the faces such as line and wrinkles suggest the age and creates’ tension between the two people evoking
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
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.
A key similarity between Velazquez and Caravaggio is their use of chiaroscuro to bring prominent details to the forefront. The light source in the Supper at Emmaus is directly behind Christ and the outline of the halo gives the effect of radiating light from Christ’s head. The light hits the eye of the disciple in blue visually representing eyes being opened. This contrast between the illuminated Christ and the obscured disciples further dramatizes the narrative. The focused light source also allows Velazquez to display his painting skills with texture, as he details the clothing, the tablecloth, and facial expressions.
The painting “The Story of Joseph” by Biagio d’ Antonio is made of tempura on wood. “The tempura techniques of previous centuries had already used oil as a binder, although other non-transparent substances, such as fig-tree juice and egg yolk, were more common, such binder produced a color that was absolutely opaque.” (Wundram, 17) In the paintings, it shows various events going on almost like a storyboard. The people in the paintings are going about their business, talking, trading, and fishing. The painting tells the story of Joseph who is the favorite son of the Hebrew patriarch Jacob. (Genesis 37, 39, 42-27). Throughout the paintings, there are various inscriptions painted on the artwork.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
For example, Masaccio used the medium fresco. It dries quickly and requires the artist to work fast with color broadly applied. This medium enables Masaccio to create generalized forms over the precise details of oil and tempura painting. However, Campin used the oil medium. This gave him the ability to create jewel-like illusions of reality. Campin and others of this era were motivated to paint the external world and all the different facets that create it. On the other hand, Masaccio wanted to create a painting that is more realistic and wanted the people to be able to relate to the art. Also, both artists use light and shadow to highlight and emphasize different parts of the paintings. For instance, Campin lit the room with sunlight and put a focus on Mary’s dress. This lighting causes the dress to turn into a shape of a star. This can symbolize the presence of the star of Bethlehem. Many other religious symbols are found in the painting. The eyes are not drawn to a particular object. This is not the case in Masaccio’s painting. He does not particularly shine light on one object. Even though the eyes are drawn to Jesus, we get a sense of balance between all the objects. This portrays faith and it’s mysteries as well as the perfection symbolism that comes with God. Masaccio creates a three dimensional like form even though it is on a two-dimensional surface. The painting shows
...thin this painting is appealing to the eye. With regards to linear perspective, this painting has a diagonal in which the figures line up and converge to one point.
This painting is a great example of asymmetrical balance. The angels are placed nearly exactly identical on each side of the throne. The angels themselves are sort of mirroring one another. Besides the navy cloak worn by the woman this painting does a great job at equally distributing the visual weight. The yellow hue is found to be consistent throughout. Giotto did a good job at blending and balancing the colors from yellow all the way to green. There is also a great deal of emphasis found throughout Giotto’s painting. The woman holding her child is definitely the main focal point of the painting because it is found directly in the center on a throne worshiped by angels. There is also a great deal of emphasis found on each character of the painting by the light yellow halo found above their heads. This does a good job at emphasizing everyone’s importance in the
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
The immediate background consists of natural mounds of dirt and a brick wall that enclose the Virgin, Child, and St. John, amplifying the protective effect that Mary’s figure has. The dirt mounds roll inward with a brick wall bordering them on the right, drawing the viewer’s attention towards the three figures. The background is painted in broad terms, with a simple, uniform depiction of tree leaves and smooth rock faces on the horizon. This contrasts with the fine-lined detail and texture of Mary’s hair, facial features, and veil, which further contribute to her elegance and highlight her
Color is used to draw attention to important characters and objects in the painting. The red of Mary’s shirt emphasizes her place as the main figure. A bright, yellow cloud floating above the room symbolizes the joy of the angelic figures. De Zurbaran uses warm colors in the foreground. The room, used as the background for the scene, is painted in dark colors utilizing different hues of gray and brown.