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Was humanism expressed in art
Was humanism expressed in art
Was humanism expressed in art
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The Museum del Prado showcased a vast range of paintings that made use of many themes such as religion, culture, royalty, mythology, romance, identity, and many more. The extensive art collection exposed the viewer to many styles and techniques that had the proficient ability to tell stories, create scenarios, and exhume the past. Several paintings caught my eye, particularly those done by Velasquez. Upon my visit, I’d developed an appreciation for the painter’s use of rich colors, his attention to and utilization of detail, and his realistic approach to the human body. One of the paintings that I paid the most attention to was his work entitled The Buffoon Sebastian de Morra, initially from the Royal Collection. It is a portrait that was done circa 1646, in the medium of oil on canvas, with the dimensions of 106.5cm x 82.5cm . The subject encompasses the majority of the painting, set in the center, with a small amount of space framing him. The colors involved in the painting contrast with each other, the background being earth-toned, and the subject being painted in more vibrant colors such as red, green, and flesh-toned. The subject, Don Sebastian de Morra, was a dwarf that initially served in the court of Cardinal-Infante don Fernando in Flanders and subsequently served in the Spanish court of Prince Baltasar Carlos in 1643 as a buffoon. He was a dwarf that suffered from Achondroplasia, a cause of dwarfism resulting in short-limbs (Closet-Crane, 2005). There is a degree of simplicity in the painting, particularly in the way that Velasquez simply made use of space to surround the subject. If it weren’t for the manner in which Velasquez varied the tones of the background through his use of light, the subject would have appeare... ... middle of paper ... ...iling de las humanidades y las ciencias sociales, 1(25), 155-164. Retrieved February 11, 2014, from the Academia database. The Buffoon Sebastian de Morra. (n.d.). Museo Nacional del Prado: On-line gallery. Retrieved February 11, 2014, from https://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-buffoon-sebastian-de-morra/ The Nude Maja. (n.d.). Museo Nacional del Prado: On-line gallery. Retrieved February 13, 2014, from https://www.museodelprado.es/en/the-collection/online-gallery/on-line-gallery/obra/the-nude-maja/ Web Gallery of Art, image collection, virtual museum, searchable database of European fine arts (1000-1900). (n.d.). Web Gallery of Art, image collection, virtual museum, searchable database of European fine arts (1000-1900). Retrieved February 11, 2014, from http://www.wga.hu/frames-e.html?/html/v/velazque/07/0703vela.html
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
Rafael Leonidas Trujillo Molina came into the world on October 24, 1891. He was born in the small city of San Cristobal in the Dominican Republic. He was the son of Jose Trujillo Valdez and Altagracia Julia Molina. Trujillo’s parents were married on September 24, 1887 in San Cristobal. Trujillo’s father was a merchant and was dedicated to buy and sell items that he could make a profit from. His mother was a housewife and was considered very sweet and kind hearted by those who knew her . Not much is known about Trujillo’s childhood and family because he had records changed to not bring any shame brought onto his name. What is known is that he was...
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.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Demarco, Laura E. "The Fact of The Castrato and the Myth of the Countertenor." N.p., n.d. Web. 6 Feb. 2014. .
Eagleton, Terry. El sentido de la vida (2007) Tr. Albino Mosquera. Barcelona: Paidós, 2008. Print.
In addition to the notably simplistic design, the collection itself provides access to a remarkable breadth and depth of both classic and contempora...
Diego Rivera was deemed the finest Mexican painter of the twentieth century; he had a huge influence in art worldwide. Rivera wanted to form his own painting fashion. Although he encountered the works of great masters like Gauguin, Renoir, and Matisse, he was still in search of a new form of painting to call his own (Tibol, 1983). His desire was to be capable of reaching a wide audience and express the difficulties of his generation at the same time, and that is exactly what h...
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The painting, in its simplest form, consists of a naked woman lying elegantly upon stately and rich cloths, while a young, also nude boy, is holding a mirror which contains her reflection. Upon first glance of this work, I was quickly able to make out the identity of the two subjects. ...
"" Title="Art History Unstuffed" Art History Unstuffed." Art History Unstuffed RSS. N.p., n.d. Web. 23 Oct. 2013.
Velázquez, Painter and Courtier by Jonathan Brown is a voyage through the life of one of the great Baroque artists, Diego de Silva y Velázquez. Brown considers Velázquez life from both an artistic point of view and a biographical point of view. The purpose for Brown is to place Velázquez work "in the wider context of seventeenth century painting and theory." According to Brown, this is somewhat difficult to do because Velázquez was certainly not the normal artist for the time.
We visited the Museo Nacional De Antropologa in Madrid, and were assigned to analyse the Asian Room, which is focused particularly on the Philippine Islands because of their historical colonisation with Spain. The display of things in a museum are things that we look at as something that is outside of normal. In contrast to the movie or movies, where scenes substantially show how the person felt and dealt with situations and tools from their own perspective, with their own knowledge and experience and through different means such as real images, sounds, language and others produces a different knowledge on the racial discourse. When looking at exhibitions in museums the other culture is unknown, and almost uncomfortable to us, but in movies we can be standing in their shoes.