Analyzing The Paintings In Timothy Brook Vermeer's Hat

John White, the artist, also created this painting in 1585. It represents what Europeans first saw when they came over and came face to face with the people that lived here. It is relative to reality because when people first arrived here, they noticed that the people didn’t have the material clothing like they did but had cloth coverings. This image also came from the Smithsonian Mag and it is reliable because of their research and accuracy for history.

Pieter Brueghel's painting tricks the observer. The viewer is first drawn left, where a red-shirted farmer and his horse, plowing a hill, descend into shadows. The eyes then wander

the roles of those two important races in America of the time. The painting is related to the time of slavery (1619-1865) and the unequal positions between the Negros and whites. Finally, I have observed that the unknown painter detailed the whites’ men face very well, yet the black men and woman’s face appears faceless or without identification. This is a representation of the European view towards Negros as a uniform object or animal.

Throughout the history of art, there has always been a plethora of portraiture, no matter the time period or the medium whether is be sculptures, paintings or even carvings. Humans have always been fascinated with themselves and the way others look. But it’s not always about vanity, it means so much more and can be conveyed in many different ways. In some cases, the artists moved beyond that of a simple likeness and can instill different emotions in the viewer. That being said, in this essay I will compare and contrast two portraits. The first is an oil painting titled Man in a Red Turban by Flemish painter Jan van Eyck from 1433. The second work of art is Louis XIV by Hyacinthe Rigaud, a French Baroque painter. The portrait is from 1701

The painting may strike the observer as a natural view of the landscape, but in fact it reveals Bruegel 's great

One of the most influential paintings done by Johannes Vermeer is the Milk Maid. Johannes was inspired by the way of living during his era. The foot warmer depicted in the background of the painting is an accurate replica of what was mostly used in the homes. Vermeer’s chiaroscuro was relatively bold, though the objects still conceived lighting conventionally. The artist’s technical proficiency and fluency in some of his paintings hits an odd note among his early works; this include among others, A Lady Writing A letter, Christ In The House Of Mary, The Procurous. In as much as Vermeer’s modern subject of painting varies from his first works, its broadness of execution, spatial organization, and scale is evidently reminiscent of his first artworks.

Everything in existence has value, what type of value depends on your history. If it has been passed through generations it most likely has sentimental value, meaning you value it because it ties back to relatives. If it is worth money it is valuable monetarily. The value of the Vermeer painting changes throughout the book. From it being passed down from Cornelius’ father to selling it for 75 guilders to support a family and farm.

At first contact with the painting, my eyes were immediately drawn to the center of the painting where a dominant figure of a man is highlighted not only by his large size, but also by his bright red jacket which invokes a strong presence in the painting. In contrast, the other peasant-like characters’ wear muted, dark colors while the child’s clothing in the far bottom left of the painting is almost indecipherable among the dark tree trunk. The use of the primary color red at the center of the painting emphasizes a sense of tension, urgency and motion (Herberholz, & Herberholz, 2002, p. 29). However, I also observed the emanating warm palette of colors associated with this Flemish renaissance era (Pastro, 2005, p. 51). The colors are “cozy” and reassuring. In truth, the blue sky, light ochre buildings and the terracotta-colored church, all covered with crisp white snow gives the painting its arresting quality, presenting a peaceful winter country scene. Overall, the painting presents a wide range of values and tones of colours. For instance, shades of yellow and gray are strategically painted onto the snow to represent the shoe prints of the characters. Interestingly, unlike his father, Pieter Brueghel the Younger depicted detailed objects in the painting through the use of representational shapes. In these artwork, the emphasis is on the realistic presentation of the subject matter. The people, objects, or landscape look very real and may be considered an imitation of nature (Herberholz, & Herberholz, 2002c, p. 90). In fact, artists frequently use realistic shapes in a two-dimensional artwork to represent three dimensional object-forms-that they see in the natural world (Herberholz, & Herberholz, 2002b, p. 34). In addition, the actions of the prominent figures give the painting a series of clear lines that are sharp and even perhaps violent. In the book Artworks for

I was surprised that artists in the seventeenth century utilized innovation to concoct incredible compositions. The Camera Obscura comprises of a container or a divider that is sufficiently enormous for the artist to remain in and penetrate a gap in the divider. So that the picture of what is outside of the case is specifically anticipated on the divider where the artist is. At that point they utilize a focal point that is set in the opening; this will help them to make the picture clearer and in addition controlling the measure of the picture through changing the flow or position of the focal point. At last, artist starts the following procedure of the picture that is anticipated from the focal point. This is the thing that Tim trusted, that it is conceivable that Vermeer painted specifically from a focal point since in the Music Lesson painting, there are extremely troublesome light ranges that Vermeer had painted and can't be seen by human eye unless on the off chance that you were looking through a camera. Despite the fact that some may call this bamboozling and not by any stretch of the imagination of an artist since he followed what was anticipated to him from the focal point yet I trust this was the best way to get reasonable and consummate looking

Rembrandt painted this portrait in 1660 with oil on canvas at age 54, nine years before his death. That we encounter the artist unexpectedly and alone suggests the privacy appropriate for candid conversation. The setting describes the quiet enclosure of an interior. The artist’s shadow shows little space between himself and the rear wall, suggesting there is only room enough for Rembrandt and his easel, as if to assure us that no one else is around. A narrow field of light just

36. 1940, Ernst, Max, Europe after the Rain, German, oil on canvas, Surrealist Painting, Veristic.

From the 1600s to present day, landscapes have evolved in color and style. As the Baroque era incorporated stories and modern landscape photography focuses on color and subject, landscape artistry has changed as new movements of art and history occur. A proposed exhibition of landscapes includes Claude Lorrain’s Seaport with the Embarkation of the Queen of Sheba, Van Gogh’s Long Grass with Butterflies, Paul Nash’s Totes Meer (Dead Sea), and Ainsley Bennett’s Binary Haze. The works could be used in order to understand of how the portrayal of landscapes has changed from the 1600s to the modern day. Through the proposed exhibition, “Landscapes through the Ages,” one can follow the theme of how the historical context of different centuries has influenced the creation of landscape art.

Pieter de Hooch has humble origins. In 1629, he was born in Rotterdam in a butcher’s family. Receiving his early training under Ludolph de Jongh in Rotterdam, De Hooch later served his apprenticeship under the landscape painter Nicolaes Pietersz Berchem in Haarlem. He is recorded as a painter and footman to a wealthy merchant-adventurer Justus de la Grange in 1653. In 1654, he married Jannetje van der Burch of Delft, and later he had seven children. Moving to Delft after his marriage, he was registered with the Delft guild and became an independent artist in 1655. During the years in Delft, he produced his most characteristic works. In 1661, he moved to Amsterdam and remained there for the rest of his life. De Hooch’s three periods in Rotterdam, Delft, and Haarlem represent his three phases in painting with gradually maturer artistry. This paper uses De Hooch’s The Visit, a transitional work that was executed in 1657, his early Delft period, as a case study to examine the development in De Hooch’s artistic style in terms of the scene, composition and perspective.

The distinctive pictorial mode of 17th Century Dutch painting can broadly be categorised as descriptive. Realism is employed in rendering scenes of everyday life through various iterations of subject matter found in the real world. Distinct from Renaissance art of the south, subject matter is predominately secular and attention to ways of rendering the world is favoured over an overt narrative. The further characterisation of the nature of Dutch painting is problematic. E. de Jongh argued that works were not secular slices of daily life but didactic in nature, imbued with symbolic iconography. Svetlana Alpers dismisses de Jonghs views as simplistic, arguing that virtuosity and mastery of naturalism were not a means to document or to make art for arts sake; but rather an intellectual exploration into ways of seeing. Vermeer’s The Milkmaid painted between 1657–1658 (fig. 1) and Jan Steens The Card Players painted ca. 1660 (fig. 2) are genre paintings that when contrasted appear to differ in subject and meaning. In analysing both paintings I will identify their descriptive qualities and rationalise that the conflicting points of view of De Jhong and Alpers are neither invalid nor mutually exclusive.

Human expression provides a mechanism by which human behaviour can be studied by the historian, and in aesthetic expression such as art, the historian can study the beliefs which influence human behaviour. Within the alleged 'Golden Age' of the Dutch Republic can be found a diverse mixture of paintings, and sources 1-3 show three different genres in particular: landscape, portrait and still life. Provided that the limitations of making generalisations over these paintings are