even changed the way this is now carried out. However, due to the sophisticated nature of many of the paintings that comprise still life, sketching became an imperative first step to the process of creating a final product11. The paintings were simply otherwise much too complex, and in the case of floral still lifes, hardly possible to complete because of the time frame that it would take to bring a painting to fruition, while the actual model comprised of authentic flowers would age and die. In other words, the model could not be counted on to remain still itself! Therefore, it took a combination of sketching and an authentic exemplar to allow the artist to come up with a finished product.
Here it would be instructive to explain the phases
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of the creation of art work that became common for still lifes (and just prior to this period). According to research painters had been working with oil paints for about eight centuries prior to the 1600s. But it was during this later era that they learned to layer paints, adding a glaze and opaqueness. Before canvas became widely available, other supports – or panels of wood – were used. The process of layering, and adding color could cause an artist to take perhaps six months to finish a picture, adding and blending, trial and error, glazing and modifying12. It is the realization of the painstaking process of painting in this era, and the amazing finished products that were wrought, that only intensifies the respect even a layman can feel for the work of these masters. The breadth of knowledge and skill required to be an artist was certainly formidable and required the total commitment of the painter. In this final section authentic Dutch floral still lifes will be used to confirm the thesis of this essay which is that floral still lives became a popular specialty genre of 17th century Dutch painters, reflecting he advanced painting techniques that grew in popularity over the century.
Figure one that appears on the illustrations page following the bibliography is a floral still life done by Rachel Ruysch entitled “Basket of Flowers” and completed in 1711. A perusal of the painting finds all of the elements of design and technique mentioned in a previous section of this essay on full display. The composition of the painting has several large flowers on display, surrounded by a variety of secondary types of spindly vines and leaves, all wispily supporting the main focal point of the picture12. Her use of color is subtle and real as well, and the detail adds an authenticity that makes the viewer want to lean in and inhale the lovely perfume of the blossoms. The use of light and shadow are easily recognized, and are a repeated theme in the floral still lifes of the time. Ruysch gives a sense of a darkened background while draws the eye to the lightened flowers that are front and center in the painting. Indeed, here is a perfect example of the use of the aforementioned techniques in a floral still …show more content…
life. Figure 2 is “Floral Still Life”, 1669, by Maria van Oosterwijck. Here all of the very same techniques and artistic elements are on display, and it would be possible to suggest that were the paintings of the five artists that will be named for their floral still lifes were lined up side by side – it would be difficult to discern the artist, not so to identify the techniques. Van Oosterwijck’s painting is equally as detailed as Ruysch’s. The interplay of light and shadow are also easily identifiable. The composition is simply exquisite, with several large blossoms drawing the eye of the viewer to the center of the picture, and then the softer blooms falling with abandon all around. The detail and texture are palpable, and the painting reconfirms the thesis that floral still lifes of the Dutch Golden Era reflect the advanced techniques that became commonplace through this art form. Figure 3 is “Vase of Flowers” by Jan Davidsz De Heem, 1645.
By now, the British art market was awash with these types of floral still lifes – and others as well. They had become a leading art genre, and although each was different they resonated with the similarities that had become all too common by the mid-1600s. That is not to take anything away from the artist, for indeed the work is more than impressive. The realism of this vase of flowers (aptly named) is once again palpable. They are so authentic looking the viewer is wont to reach out and touch them. De Heem uses the self-same techniques of the other floral still life artists, shadow and light, composition and texture, to deliver a painting that has the right mix of naturalness but the formidable sense of artistic challenge upon reflection. De Heem again reconfirms the
thesis. Figure 4 is “Floral Still Life with a Watch” done by Willem Van Aeldst in 1665. This picture has been added because his technique was the same as what has been seen throughout the floral still lifes, but the concept of adding a watch changed it slightly, making it different and interesting while remaining true to the genre. The background is quite dark and light is used to focus on several of the flowers in the center. However, there is a sense of a second source of light being used to highlight the watch as well. The composition is quite delicate, even with the watch handle, and the flowers and leaves seem to trip across each other, giving off a natural flow, even while there can be no doubt the model was staged and probably sketched and resketched dozens of times. The final painting, Figure 5, is the last that will be offered in support of the thesis. It is Ambrosius Bosschaert the Elder, A Still Life of Flowers in a Wan-Li Vase, 1609. Composition and texture mirror that of the other four paintings. The trompe l’oeil, the texture, the detail and the perspective can lead the viewer to believe this is a vase of flowers sitting on a table in their own homes. To be sure, this final painting demonstrates unequivocally that floral still lives became a popular specialty genre of 17th century Dutch painters, reflecting he advanced painting techniques that grew in popularity over the century.
Jan de Heem painting, “Still Life with Lobster” is an oil painting with a bright red lobster that catches the viewer gaze into this beautiful dinner from the late 1640s.The color scheme used in this painting is analogous since it uses relatively close hues. In the painting, the lobster is on a silver platter but it has been left untouched. Surrounding the focal point of the painting is luxurious fruits including grapes, cherries, peaches, berries, oranges, and a half peeled lemon. To the left of the lobster is an overturned silver goblet. This particular style of painting is known as a vanitas form of painting. The artist is using a luxurious left over meal to show even the most expensive desires of the world doesn’t last for eternity. The
Pieter Claesz’s “Still life with a skull and a writing quill” is a 24.1 x 35.9cm still life oil on wood painting showing a skull with a quill as well as a turned glass roemer with reflections, an expired lamp, pen holder, inkwell, book, and folders of papers, this is one of Pieter Claesz’s earliest still life paintings, the attributes of a writer suggest that worldly efforts are eventually in vain.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
This is an image that I think of when I consider Japanese culture. They love gardens like this and you see similar images often when considering their culture. It is difficult to tell for sure, but the people in the distance appear to be dressed up. It is as though they have put on their best clothes to step out and enjoy this relaxing setting. I believe that this print is successful at capturing a moment in the mid 1800’s very well. It causes me to sense and experience what the artist was trying to capture. This print seems to conform to the formal theory of art. The print has only images of each object. None of them are particularly detailed or real to life but they do a very good job of organizing and describing the basic elements of the scene. It uses similar colors, shapes, and lines to those one might find in this garden in
Lehner, Ernst, and Johanna Lehner. Folklore and Symbolism of Flowers, Plants and Trees. New York: Tudor. 1960
The Editors of Encyclopædia Britannica. "Luminism (painting)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 31 Mar. 2014.
This painting, measuring about six-by-seven feet, is a massive work that draws viewers directly to it once they enter the room in which its displayed. It is not covered by any glass and is in a very well-lit area, thus it allows viewers to stand as close as possible to see the details of how Peter Paul Rubens handled his medium. Looking at the painting from a photograph is much different than viewing it up close and in person, because when looking at a photograph, one cannot see the texture of the paint that gives the painting its very delicate, unique, and realistic quality. The work appears to be in very good condition because most of the colors are still very rich and vibrant, such as Adonis’ red garment (Rubens). Although one cannot tell when directly viewing the piece, it has been said that previous use of radiographs for further analysis on the painting uncovered that initially, “Rubens gave A...
The first images of the garden are seen through the exaggerated imagination of a young child. “” are as “ as flowers on Mars,” and cockscombs “ the deep red fringe of theater curtains.” Fr...
One of the paintings done by Rococo was that of a girl in a field, in the presence of string wind that blowing up her dress and hair. This painting uses a wide range of pastel colors and has graceful curves that embellish the lady’s figure (Adams, & Adams, 2010).
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
In “The Flowers,” by Alice Walker, the flowers are used throughout the story to symbolize the beauty and naivety of childhood. In the beginning of the story the author shows the main character Myop walking down a path along the fence of her farm. Myop sees “an armful of strange blue flowers with velvety ridges…” The flowers are bright and colorful, reminding the reader of an innocent type of beauty often associated with them. This suggests the flowers were inserted in the story by Walker to reveal how young and innocent Myop appears to be. Later in the story, after Myop had discovered the dead body of a man who seemed to have been hung “Myop laid down her flowers,”. As Myop put down the flowers she was also putting down the last of her innocence.
Art in general is a factor that allows humans to express their creativity, as they apply the essentials of history, media, elements and principles of design. It was those recent class trips, that I had taken to La Salle Art Museum, that instantly allowed me to acquire a deeper passion for art. Soon enough, in the 17th century exhibit, I saw a piece of artwork that was remarkably aesthetic for me. The artwork is ironically titled, “Still Life with Fruit”. The approximate size of this artwork is 16 inches wide by 20 inches long. The artwork dated back to the year of 1689. A Dutchman named, Jan Mortel, born during the year of 1650, was the artist of this artwork. Judging from the artwork, Jan Mortel had a great talent for oil painting. Jan Mortel
Long, J.C., (2008). Botticelli’s Birth of Venus as wedding painting. Aurora, The Journal of the History of Art, 9, p.1. ISSN 1527-652X.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.