Reclining nude female is a common subject matter in art history since the Venetian Renaissance, Titian’s Venus of Urbino painted in 1538 is one of the earliest reclining nude female in painting history. It described a beautiful young female laying on her bed with her sleeping dog, on the back ground is her maids looking for cloth or her in the cassone. Manet’s Olympia that painted in 1865 is a painting with a similar composition, A nude young female who was suggested a prostitute, behind her is her black female maid holding a big bouquet of flower which is possibly from her customer. On the same part of the composition, there is an animal as well, but this time it is a cat. Titian and Manet’s reclining nude female have a same composition and subject matter, however They are very different in art history, both stylistically and culturally.
The next work is from Peter Paul Rubens. This creation was probably made in mid-1630 during his stay in Madrid. The painting is named “Venus and Adonis”. We can find that Rubens was one of the most interested artists of endowing the art of painting with prestige. He is the symbol of the baroque scholar Velazquez always wanted to imitate. This is due to its wide humanistic and religious culture, the mastery of several languages, the skills for diplomacy and its natural intelligence. Rubens reaped important prizes and noble distinctions of the kings of Spain and England that allowed him to acquire the dominion of Steen. For this reason he always self-portraits as a perfect gentleman, dressed elegantly and with the distinctive elements of his
The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.
He started studying at the Royal Academy in London and married Esther Kenworthy in 1883 then moved to St. John’s Wood. They lived in a purpose built artistic colony .”Early in his career his works appeared similar to the the works of Sir Lawrence Alma-Tadema” and he painted many distinctive painting and was influenced by many talented artist before him. He produced over 200 paintings during his lifetime including “The Lady of Shalott,” “Boreas,” and,“The Crystal Ball.” “ He painted many excellent portraits of women”. His paintings were rich for their color, and was neglected through most of the 20th century. He produced works of mythological and literary themes through the 1890s and 1900s. He taught at St. John’s Wood art school between 1892 and 1913. He left no diaries or journals, and died of cancer in 1917.
The painting chosen to examine is The Garden of Eden by Francesco Solimena. This painting was created between 1725-30. The medium of the painting is oil on canvas. The scale, although not specified, appears to be about a couple feet high and a couple feet long. The general subject matter is Adam and Eve in the garden of Eden. It seems to be before they have discovered the forbidden fruit. The figures seem to be embracing everything the garden has to offer, they seem content and comfortable in their own skin. In most paintings, Adam and Eve are covered up after eating the forbidden fruit, for they are shamed. The fact that they are shown in the nude most likely suggests that they still have their innocence. An important thing to note about
Shortly after he painted his self-portrait at age 23, Rembrandt moved to Amsterdam in 1631, where he first began officially working as a professional portraitist. By that time, he had begun to gain recognition and stardom for his world-class portraits. Rembrandt was living in the house of Hendrick van Uylenburgh, a Dutch art dealer, who introduced Rembrandt to his cousin, Saskia van Uylenburgh, whom Rembrandt married in 1634. This relationship only further progressed his career, bringing him in contact with rich patrons awaiting to commission portraits of themselves and their families.9
The Norton Simon Museum is a museum for everyone to visit and enjoy the great artworks. Besides, it’s also a great environment to spent you’re day in its café that it’s by the garden of the museum. The artwork that really grabbed my attention was the Alcibiades on His Knees Before His Mistress, by Louis Jean Francois Lagrene from the Norton Simon Museum. I chose this particular artwork because it’s interesting that how the artist depicted the gender role by giving each gender a unique appearance. Besides, the artist also depicts the formal elements by depicting the texture of the fabric, and use of smooth and rough lines to create the painting more attention grabbing. This painting would be a good comparison with Jacques- Louis David, Oat of the Horatii, France, 1784 from the text because the painting’s context, content, and history are similar to each
During my visit at the Art Institute of Chicago this quarter, a popular and interesting piece of artwork that spoke to me in ways that no other artwork did was the, “Tarquin and Lucretia” by Tintoretto or the artist known as Jacopo Robusti. Tintoretto is also known as the one of the most well-known Italian Renaissance artists and became interested in painting at a very young age. This specific piece of artwork was originally created by Tintoretto during 1578 through 1580 and is an oil painting on a canvas. It has approximate size measurements of 68’ 7/8” by 59’ 5/8” and is classified as an Italian work of art. This painting takes place in ancient Roman times where the figure that is somewhat laying down represents Lucretia, who is the wife of an honest man named Lucius Tarquinius Collatinus (“Stories and Histories - The Rape of Lucretia”, 2016). The other figure that is directly behind Lucretia is Sextus Tarquinius or Tarquin, who is her rapist and the son of a dictatorial Roman king named Lucius Tarquinius Superbus. Subsequently after her rape, Lucretia tells her husband and father about the incident. In order to save herself from the guilt and misrepresentation of her reputation, she stabs herself to death (“Stories and Histories - The Rape of Lucretia”, 2016). In the article titled, “Illicit Arousal: The Erotic Subtext of Tintoretto 's Tarquin and Lucretia” within The Journal of the History of Art by Sabrina DeTurk, it is stated that Lucretia is seen to be “a moral
Religious artwork has been prevalent throughout all of history. Christian artwork has been ever changing and evolving based on what it going on during the time period in which the work was created. In Romanesque artwork, art was imaginative and involved mysticism along with themes that represented their fears of the end of the world. In Gothic artwork, the art turned away from evoking fear and instead had the goal of bringing people into the church. In the fourteenth century, the religious art responded to the crises of the time period. During the Renaissance, artwork shifted to an interest in realism, which can be seen in Raphael’s Madonna and Child with the Young Saint John. The medium for this work of art is oil paint. it was painted in 1500 and is 47 inches in diameter.
The art piece that I selected for my analysis is called The Triumph of Divine Love by Peter Paul Rubens. The artwork is an oil painting on canvas, circa 1625. This piece of art was commission by Isabella Clara Eugenia, Infanta of Spain and Portugal. The Triumph of Divine Love was one of eleven art pieces in a series portraying the Eucharist cycle, an important issue in the Catholic-Protestant strife. Its purpose was to aid in the Catholic Reformation and the artwork was to be displayed at the Convento de las Descalzas Reales in Madrid. (Ringling Museum n.d.)
Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual
opened up his very own portrait studio, and soon later married his wife and mother to
I chose to write about L’Envouteuse (The Sorceress) by Georges Merle. Merle’s father was also a painter, and since Merle did not sign some of his early work it was often confused to be done by his dad. George himself was known by his talent of painting the body form of women. Merle painted this during the time of 1883. This painting is 57 ½ inches x 45 inches making this a fairly large piece. When painting this he used oil on canvas. I found L’Envouteuse (The Sorceress) while I was browsing through The Birmingham Museum of Art. Above all pieces of art I saw in the museum, this painting seemed to be the most captivating. As soon as I laid eyes on it my attention was immediately taken by this mysterious piece of art. I grabbed a stool and began writing down my observations. Looking at this painting on paper cannot even compare to actually seeing it in person. Pictures I have seen online of L’Envouteuse (The Sorceress) do not justify the great detail and vigorous colors that are more easily seen while actually standing in front of the painting.
It was common for the artist to paint several versions of a subject, rethinking the composition and the quality of the painting in the process; this was the case with Poussin’s two paintings of “The Abduction of the Sabine Women”, which he created around 1633. Both paintings, with their strongly opposing diagonals, are illustrations of the dynamic and self-confident style that Poussin adopted for many of his scenes from earliest history. Poussin perhaps used the small stages with wax figures and carefully arranged curtains, described by his colleagues. In his painting “Eliezer and Rebecca at the Well” created in 1648, he used the same technic. In his late works Poussin may well have used such a stage to plan the rigorous composition of “Saints Peter and John Healing the Lame Man” ,a painting from about 1655 that shows the artist responding to the striking and solid classicism of Raphael’s The School of Athens. Poussin was much precise in his work: after reading of the primary sources, he made an initial sketch, and then constructed a small model stage upon which he could move with actual miniature figures made of
“The Grafin von Scholfeld with her Daughter” is oil on canvas art piece painted in 1793. It is a painting of a woman holding her daughter on her lap, the