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Make a comparative analysis of these two paintings
Two artworks from the renaissance period
Renaissance art analysis
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Recommended: Make a comparative analysis of these two paintings
The two painters Jan Van Eyck (c.1390-1441) and Hans Memlinc (d.1494) are both considered great masters of Northern Art. Van Eyck is known for his execution of naturalistic detail and creating translucency in his panels. Memlinc is known for his financially minded cornucopia of work and for revolutionising the genre of portraiture. However, their differences are more pointed than there similarities. Both artists are mindful of the traditions of the Flemish school, such a the use of light to create a sense of the third dimension on the panel and the importance of landscape and background. Both artists worked in Bruges at some point; Van Eyck was an earlier master who moved to Bruges in 1430 until his death. Memlinc was German but settled there in 1465 until his death. The paintings by Van Eyck that shall be discussed are The Ghent Altarpiece, Madonna with Chancellor Rolin, Portrait of a Man and The Portrait of Giovanni Arnolfini and his Wife. The paintings by Memlinc that will be discussed are The Diptych of Maarten Nieuwenhove, Portrait of a Young Man Before a Landscape and The Donne Altarpiece.
The landscape in Madonna with Chancellor Rolin (1436) (pl. 1) shows Van Eyck’s exquisite eye for detail. The battlements of the palace suggest that it is a fortress, built of the edge of an escarpment. The background is a perfectly formed Medieval city divided by river (pl. 2). Symbolically, the Virgin is seated on the grandiose side of town. On the right hand side there are Gothic buildings, and a cathedral which city dwellers are flocking to, suggesting a mass pilgrimage of faith to the Virgin. The accuracy of the background city have led to many attempts to identify it, with connotations of Bruges. However, it is most like...
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... of colour and shadow over the opaque vermillion base, rather than several layers of translucent glaze. While Van Eyck pioneered the use of oil paints, Memlinc explored how to use oils economically and efficiently, whist never sacrificing painterly depth in a panel.
The works of Van Eyck and Memlinc as they both share the intention of the Flemish school, in particular in devotional paintings. They differ in innovation of other secular fields such as technique and portraiture. While this essay has not been able to focus in detail in all areas of the two artists work - such as narrative religious paintings and the authorship and signing of artworks - it aimed to focus on the polarisations of both artists; where they branched away from the Flemish school, or embraced its traditions, intending to show the overarching innovations of the Northern Renaissance.
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Thesis: Both St. John the Baptist Cathedral and Cathedral Basilica of Our Lady of Chartres are constructed in French Gothic style which means that architecturally they have many similarities. However, the 700 year gap between their construction offers St. John the Baptist more flexibility in design and style. Still, their likeness and variations extend far beyond the realm of their design.
Like the Lindisfarne Gospels, this representation of Saint Matthew takes a classical revival style appeared in the Carolingian world. Matthew’s attribute up in the upper-hand corner is a winged man. He looks energetic, very expressive and hunched over in contrast to more modeled images of even the same period and especially of late antique and classic painting. The painter uses a hard frenzied lines and bright colors to illustrate that he is writing frantically. His hair stands on end, his eyes are open wide and the folds of his drapery writhe and vibrate. The landscape behind him rears up alive and is very well conveyed. Cloths and hair of the figure is painted in detail. However, the monuments in the background are rather simplified comparing to other features in the painting. The painter even sets the page’s leaf border in motion. His face, hands, inkhorn, pen and book are focus of the composition. Artist struggles to raise the issues of perspective and tries to give us more three-dimensional view of Matthew. Painter does a terrific job in merging classical illusionism and the northern linear tradition. As the painter of the Lindisfarne Gospels Matthew transformed an important model into an original Hiberno-Saxon, so does the Ebbo Gospels artist transformed a classical prototype into a new Carolingian
The Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any...
Regardless of taste, an appreciator of art should be able to recognize when an artist exerts a large amount of effort and expresses a great amount of creativity. Understanding the concepts incorporated by truly talented artists helps the viewer better understand art in general. Both Van Eyck and Velasquez are examples of artists that stood out in their time due to their unique vision and their innovative style, and are therefore remembered, recognized, and praised even centuries after their works were completed.
The Stavelot Triptych is stunning in its complexity and artistry. It was created by unknown artists, around mid-12th century, possibly for Abbot Wibald, in modern-day Mosan, Belgium. This artwork is currently on display in the Jerusalem exhibit at the MET. The Stavelot Triptych not only tells the story of the True Cross, but it shows the division of the Roman Empire, division of Christianity and the artistic differences between the East and the West. This formal analysis will express how the structure/shape, color, line, composition and techniques/ textures contribute to the meaning of the triptych.
Campbell examines thirteen Venetian engravings and paintings, as well as an example of early poetry, to illustrate the grafting effect of different imagery sources within a single picture, along with poetic imagery and form used with poesia. Many examples of art that Campbell examines focuses on the nature of the works, such as the juxtaposition of “pagan opposites” in Christian subject matter, the idea of the gaze, juxtaposing two pictorial ...
Both Jan van Eyck and Fra Angelico were revered artists for the advances in art that they created and displayed for the world to see. Their renditions of the Annunciation were both very different, however unique and perfect display of the typical styles used during the Renaissance. Jan van Eyck’s panel painting Annunciation held all the characteristics of the Northern Renaissance with its overwhelming symbolism and detail. Fra Angelico’s fresco Annunciation grasped the key elements used in the Italian Renaissance with usage of perspective as well as displaying the interest and knowledge of the classical arts.
While the Flemish were proficient in oil painting, Italian Renaissance artists continued their predecessor’s use of tempera. Furthermore, the paintings were ultimately created for different purposes and separate viewers. Although both works are centered on the defining moment of the annunciation, The Merode Altarpiece incorporates this scene into a secular setting, therefore differing from Fra Angelico’s The Annunciation which was painted for a monastery. Finally, Flemish and Italian Renaissance paintings differ in levels of realism. Although the Flemish painters were skilled in portraying realism of physical forms, they lacked a full understanding of linear perspective. In contrast, the Italian Renaissance artists were well versed in linear perspective but lacked a complete grasp of the natural
In 1888, Van Gogh painted his Bedroom in Arles, while he was living in his famous yellow house. The objects depicted in the painting, namely his bed, two chairs and a table, all seem like they are tilted downwards, and the entire perspective seems rather strange. Indeed, after moving to the South of France, the artist’s style changed remarkably as he started drifting away from impressionism. H...
1.Van Gogh attended a boarding school in Zevenbergen from when he was ten to twelve.
First is Rogier Van der Weyden, “The Deposition” on which such terms Skull of Adam which explains reminder Christ died to redeem Adam’s sin and Symbol of Archer’s guild which tells tiny crossbows to act as a reminder that Ghent Archer’s Guild paid for Altarpiece in the painting. Another culture in France, which has one of the famous art pieces that explain the Disguised Symbolism, and is Limbourg Brothers (Pol, Herman, Jean) October 1413-1416. This painting describes "The Limbourg brothers expanded the illusionistic capabilities of manuscript painting with their care in rendering architectural details and convincing depiction of cast shadows” (Kleiner 571). My initial impressions of this painting are the functional calendar across the top and castle scene below complete with a horse. Within the bottom picture, I noticed the unfortunate individual in ragged clothes lower in the picture. The farming rows separate the landowner on horseback plowing then a hunter. Higher up is the river and fishermen, then individuals with fancier dress including hates walking a street. Highest in the bottom picture is the castle for nobility. The tallest tower touches the above picture of a god driving a chariot. The very top is the calendar month which shows pictures representing astrological signs of the
This essay will be about Flemish Baroque painter, Peter Paul Rubens. I will explain why Paul Rubens was highly influenced and impacted by the arts in the high renaissance time. Such as the works of Raphael, Leonardo Da Vinci, Michelangelo, and Titian, and how some of these artists ' works had an immediate effect on him during his time. I will answer this question by giving vast evidence of how Paul Rubens works are different based on contextual factors, but at the same time the same and under the influence of the high Renaissance artists mentioned above.
As the seventeenth century began the Catholic Church was having a hard time bringing back the people who were swept away by the protestant reformation. The conflict between the protestant had a big influence on art. (Baroque Art) The church decided to appeal to the human emotion and feeling. They did so by introducing a style called Baroque. Baroque was first developed in Rome and it was dedicated to furthering the aims of Counter Reformation. Baroque was first used in Italy than later spread to the north. In this paper I will argue that the Italian Baroque pieces were more detailed and captured the personality of the figure, in contrast and comparison to Northern Baroque pieces that aimed to produce a sense of excitement and to move viewers in an emotional sense leaving them in awe. I will prove this by talking about the different artwork and pieces of Italian Baroque art versus Northern Baroque Art.
In Timothy Clark’s, Utamaro’s Portaiture, he stars off by speaking about Rembrandt’s Portrait of Hendrickje Stoffels. To begin, he gives background of the painting, then moves into a brief description of the paining. He then begins to describe Utamaro’s design ‘Fancy-free Type. The comparison of the two paintings was deliberately put in the beginning of the paper. Clark wanted readers to note that it is right and wrong to compare Rembrandt to Utamaro. Throughout the beginning of the article, Clark discuss the follow issues: identity of the sitters, specificity of depiction of and differentiation between the range of his subjects, and tension between bijinga tradition and Utamaro’s personal style. Utamaro was a very famous Japanese artist with
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.