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Thesis on Anthony van Dyck
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Flemish Painter Peter Paul Rubens
A Painter and a diplomat
Peter Paul Rubens, a Flemish painter and diplomat counted as the leader of the Flemish Baroque School. During the last decades of the 16th century the Flemish School of Painting was just struggling along and hadn’t produced a master in the arts for a long time. It was then that Peter Paul Rubens got his artistic training at this school and acquired his belief in the humanistic values of classical antiquity. During his lifetime Rubens acquired a reputation in the art world that brought him commissions from England, Germany, France, the southern Netherlands, Spain and Italy. He was well-known for his unstoppable imagination, immense capacity for work and sheer productivity.
He hadn’t yet, reached the age of 45 when he was already being described as “the master workman of
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This is actually a commemorative painting that represents the late Justus Lipsius, a Flemish philologist and humanist with two of his scholars, one being Ruben’s brother Philip (also recently deceased). Ruben’s first big project after returning from Italy involved the Raising of the Cross a triptych for the church of St. Walburga (now the Cathedral of Antwerp). This was followed by another triptych the Descent from the Cross in the Cathedral. In his painting the “Great Last Judgment” he creates an apocalyptic vision of the torments of the damned. Rubens’ workshop was open and he had pupils and assistants to help him. One of this assistants was Anthony Van Dyck, who became a Flemish Baroque artist. At this time many art works were created including two altarpieces that glorify the first saints of the Jesuit order, the “Miracles of St. Ignatius of Loyola” and the “Miracles of St. Francis Xavier”. In 1620 Rubens was commissioned to do a series of 39 ceiling paintings for the Jesuit Church of Antwerp. Unfortunately these were destroyed in a fire in
The Ghent Altarpiece painted in completeness by Jan and Hubert van Eyck in 1432. This altarpiece is filled with symbolism. One of the most important pieces of the altar is the Deity Enthroned, which represents the Lord in Christianity. The painting covered with symbols and words. The artists portrays many signs with different meanings from the deity’s clothes to the background.
Rogier van der Weyden painted his vision of the biblical Deposition before the year 1443, likely between 1435 and 1438. The painting is oil on wood panel and was an altarpiece commissioned by the crossbowmen’s guild in Louvain, Belgium. Jesus’s body is at the center of the scene, being carefully lifted down from his cross. He is surrounded by mourners, his mother, Mary, swooning in her grief as John the Evangelist reaches out to support her and Mary Magdalene wringing her hands, her head bowed in sorrow. The figures in the artwork do not fit completely within the frame of the altarpiece and the only the lower part of the cross is shown in full. In his Deposition, Rogier van der Weyden attempts to capture the extreme grief apparent at Christ’s death and reflect the emotion onto the observer, placing him/her within the narrative.
Vincent Van Gogh is one of the world’s greatest and most well-known artists, but when he was alive he considered himself to be a complete failure. It was not until after he died that Van Gogh’s paintings received the recognition they deserved. Today he is thought to be the second best Dutch artist, after Rembrandt. Born in 1853, he was one of the biggest artistic influences of the 19th century. Vincent Van Gogh created a new era of art, he learned to use art to escape his mental illness, and he still continues to inspire artists over 100 years later.
The Ghent Altarpiece (began by Jan’s older brother Hubert Van Eyck; although the majority of artwork was done by Jan himself) functioned as a polyptych with 24 separate panels. The subject of the Ghent Altarpiece is the commemoration of the fall to the redemption; or rather, the rise of Christianity, the fall of Christianity (sin), and then redemption (Christ's sacrifice that saves mankind).
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own artistic identities.
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 compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
The Raising of the Cross is one in a series of paintings based on the crucifixion of Christ by Peter Paul Rubens. This piece was painted between 1609 and 1610 with oil on canvas in life size with the centerpiece of the triptych measuring 15’2” by 11’2”. It is now displayed in the Cathedral of Our Lady in Antwerp, Belgium (Dunton, 164). Peter Paul Rubens was a Flemish artist that painted in Baroque style, his paintings were mostly of religious and mythical origin and his skill in such has been highly regarded in his lifetime and since. (www.peterpaulrubens.com) Born June 28, 1577, Rubens development as a painter, apparently, started early. After his father’s death and his family moving to Antwerp he decided he wished to be a painter and “In 1598, at the age of 21, he was accorded the rank of master painter of the Antwerp Guild of St. Luke” (CSU Eastbay article).
David, born on August 30, 1748 in Paris, France, was a skilled painter during the French Revolution. He went to College des Quatre-Nations. His father was killed in a duel when he was a young boy, and his mother left him with his wealthy architect uncles. They wanted to send him to a school that centered on architecture, but finally accepted his dream to become a painter. While trying to pursue his dreams, he went to study with Francois Boucher. Boucher was a Rococo painter, but primarily a distant relative to David. Boucher didn’t have the same artistic view as David however, especially since the times were changing, so he sent him to his friend Joseph-Marie Vien. Vien was a painter who embraced the classical reaction to Rococo. While studying with Vien, David attempted to win the Prix de Rome four times. The first three trials ended in failure, but David did not give up. Finally, in 1774, he won. David met many influential people that helped him with his art while in Italy. It was the opportunity of a lifetime to mount to something so special and close to his heart. He even painted with Raphael Mengs and Johann Joachim Winckelmann. These two artists helped him to improve in his artistic abilities. Without their influential help, David’s work probably wouldn’t have sky...
Nicolas Poussin was a French painter, though he lived in Italy for most of his life, and his work served as an introduction to the Baroque style of the 17th century. His work mainly exuded themes of tragedy and death--paintings with a meaning--and his style is distinct in Baroque art. Unlike the lively work of Rubens, Poussin's style of painting is more analytical and detached as compared to any other artist of the Baroque period. Nicolas Poussin's way of painting was characterized by warm, sensual colors imbued with the classical Baroque dynamism and energy. He was the leading proponent of classicism in 17th century Rome and his “gran...
1. Viladesau, Richard. "Counter-Reformation Theology And Art: The Example Of Rubens's Paintings Of The Passion*." Toronto Journal Of Theology 28.1 (2012): 29-42. Academic Search Complete. Web. 9 Apr. 2014.
Henri Rousseau, a French born-and-raised artist, was one of the first painters to set the standard for naïve art worldwide (Vallier, Dora). In fact, Rousseau’s artworks are “the most frequently reproduced examples” of naïve art, even in today’s age (Encyclopædia Britannica). His use of rich colors, employement of extensive detail, and subject matters - typically flourishing forests of a sub-tropical nature and exotic creatures - is what clearly separates Rousseau’s art from other artists of similar idealistic styles. (Vallier, Dora). Rousseau rose to fame because of his naïeveté and lack of formal art training, which lended itself to unique rendering in his works.
Peter Paul Ruben’s thorough understanding of Italian Renaissance art and Flemish Traditional art became very apparent in 1604-05 with the oil on canvas composition The Fall of Phaeton, . The Fall of Phaeton is about Helios, the Greek god that rode the chariot of the sun, who bore a boy, Phaeton, by a mortal mother. Aided by the recklessness of juvenility, Phaeton deceived his father into allowing him take the chariot. The horses at once bolted out, searing nearly anything in their way with the sun's heat because Phaeton was half mortal meaning he was too weak to control the mighty horses. As the sun tumbles across the sky, Mother Earth calls to Z...