Joann Vermeer painting “A Woman Holding a Balance was also known as “Woman Weighing Gold”, but later on it was proven that the balance in her hands was empty. A Woman Holding a Balance painting was part of the largest collections of Vermeer’s work. Vermeer has depicted a young woman holding an empty balance before a table on which stands an open jewelry box, the pearls and gold within spilling over. A blue cloth rests in the left foreground, beneath a mirror, and a window to the left — unseen save its golden curtain — provides light. Behind the woman is a painting of the Last Judgment featuring Christ with raised, outstretched hands (Huerta, 2005).
Frederick Childe Hassam painting Boston Common at Twilight was in the mid-1880s and was perceive
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Hassam was a young painter when he completed Boston Common at Twilight during the 19th century (Impressionism) while Vermeer painting A Woman Holding a Balance was from the 17th century (Baroque Art); which was around the time of The Dutch Golden Age painting. Vermeer’s work is symbolic and how we live carrying out of temptations and self-control. The painting gives an “important clue in that Christ's Last Judgment is echoed by the woman's own actions” (Google, 2017). In other words “the Last Judgment was seen as a warning that the woman should not be distracted by weighing earthly goods, but focus on eternal values” (Janson, 2017). The painting is secularized image of the Virgin Mary, who standing before the Last Judgement. In a Catholic viewer, it is an anticipation of Christ’s life, his sacrifice, and the eventual foundation of the Church (Janson, …show more content…
This gave the painting a sense of light and color. His work showed his knowledge of both French and English art theory. He adopted the work of modern rural landscapes. The colors consist of mainly dark plain colors such as various shades of browns, blacks, and greys. On one side you see the fast pace while on the other is the clam snowy park. Hassam uses these two scenes to show his interest contemporary subjects and in different kinds of light allies the painting with Impressionism; while showing Hassam gentle vison of the city, nature humanizes the modern world (Davis, 2003).
Reference
1. Davis, Elliot B et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003)
2. Google. Woman Holding a Balance https://www.google.com/culturalinstitute/beta/asset/-wHFDKu7-mhjtQ?hl=en
3. Hiesinger, Ulrich W. (1994), Childe Hassam: American Impressionist, New York: Prestel-Verlag Publishing, p. 13, ISBN 3-7913-1364-9
4. Huerta, Robert D. (2005). Vermeer and Plato: Painting the Ideal. Bucknell University Press. ISBN 978-0-8387-5606-5. Retrieved 29 June 2010.
5. Janson, Jonathan. 2017. Woman Holding a Balance. http://www.essentialvermeer.com/catalogue/woman_holding_a_balance.html#.WPpeKdIrLIU
6. National Art Gallery (NAG). 2017 http://www.nga.gov/content/ngaweb/Collection/art-object-page.1236.html
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For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
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...
Joan Brown’s piece titled Girl Sitting 1962 depicts a nude figure of a female body sitting. This colorful piece was made in 1962 and it is located in the Oakland Museum of California. It is oil on canvas, and can be seen on a white wall within a thin black frame around five by four feet. It has a composition of a female nude sitting to the left, leaving a big empty space on the right. The colors are made from a thick application of oil paint known as Impasto, where the paint are like globs, and does not look smooth at all. Instead, it is textured and shows off the brush and palette knife marks. Overall, the composition, application elements, colors, and size contributes together to give this piece an effect to make an individual feel small
"Statuette of a standing maiden [Etruscan] (17.190.2066) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art." The Metropolitan Museum of Art - Home. N.p., n.d. Web. 16 Feb. 2014.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
most effective paintings of the modern urban landscape of 19th century Paris. At first we see the
Bernard Van Orley painted the Virgin with Child and Angels (ca. 1518) near the beginning of his career. This piece brings elements from the High Renaissance as well as early Renaissance and hints of the Gothic era. Orley’s use of oil on wood in this piece has allowed him to paint intricate details on the structures in the building and the drapery in the fabrics, and the triangular composition in the foreground gives it a nice focal point. The first thing that captures the eye in the hierarchy of scale is the Virgin Mary, holding a nude baby Jesus. The lack of a golden halo on both figures is notable, bringing the world into a realistic perspective. Mary face and body encloses Christ with an expression of endearment, creating a circle that connects
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
Stokstad, Marilyn. Art History. New York: Prentice Hall Inc. and Harry N. Abrams Inc. 1995.
In his Crucifixion, with the Virgin and Saint John the Evangelist Mourning (c.1460), a piece within the Northern Renaissance collection of the Philadelphia Museum of Art, Rogier van der Weyden portrays a stark image of the crucifixion of Jesus Christ. The right panel of the diptych depicts the gruesome image of a crucified Christ. Weight pulls the emaciated body down into a Y-shape, contrasting the T-shape of the cross it is mounted on. The only movement comes from the loincloth wrapped around Christ’s waist that dances in the wind. Blood visibly trickles from the corpse’s wounds. Behind the body, a red cloth is draped down the grey wall. At the base of the cross sits a skull and bone. The left panel portrays the Virgin Mary swooning in despair as Saint John attempts to support her weight. Her hands are clasped in prayer as she gazes up at her lifeless son. Both figures are clothed in pale draping robes. The vibrant red of the cloth that hangs from the grey wall in the background contrasts the subdued colors of the
From the Catholic observation point, the Church presents two parts: One representing its divine nature as the untarnished body of Christ, and one direc...
This represents a change in the style of painting as it helps the audience imagine just how fast this event was happening. The illustration of a window also brings light into the room making the painting seem brighter. The room is also seen to be luxurious and the women are seen to be lined up to greet the newborn
2600–2400 BC. This sculpture portrays a woman that is very balanced in proportions, the head slightly arched, with hips curving out and a waist that looks even in width with the knees. This sculpture has the woman’s arms crossing under her chest, as if she is clutching her stomach, it is almost as if the woman is anxious. These aspects of the sculpture flow together showing a smooth sculpture that looks as if it were measured carefully for accuracy. This sculpture is 24ft ¾ in.
To the left of this man, in between him and the woman holding the ladder, there is a group of four women. Three are standing, huddled together, and the other woman is on her knees, hugging the legs of Mary. Mary is the only person in this painting that has a full length white gown with a dark colored headdress. She is looking down toward the ground, but it is unclear if she is looking at the ground or at the woman who is grasping her legs. The two women at the sides of Mary are each grasping one of her arms.