Compare and Contrast of the Paintings: Man in a Red Turban and Louis XIV by Van Eyck and Rigaud

It is said that van Eyck may have included himself in this painting. If you take a look into the far background reflected in the mirror there is a mysterious man on a turban. This easter egg inside the painting may have been deliberately placed there for several reasons. Van Eyck may have wanted the viewer to feel like they were standing with him while he was painting this image if it was indeed painted on the spot. Or it could simply have been inserted into the scene of the painting that could be completely fictional.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

While the painters that followed the Impressionism period were collectively called the “Post-Impressionists,” the label is reductive. Each artist had a unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism to other influential artists. All of these unique visions were birthed from each painter's reaction to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, both of whom aimed to connect with viewers on a deeper level by accessing Nature’s mystery and meaning beyond the superficial, observable level. Close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul

An artist has the ability to connect with one’s audience through their art and the obscure connotations that appear beneath it, not just the image that lies on the surface. Artists Jan Van Eyck and Caravaggio communicate these implications through their work, utilising symbols and motifs. Van Eyck’s The Arnolfini Portrait (1434) explores the social status of the time, along with the issue of marriage between two unequals. Caravaggio’s The Beheading of Saint John the Baptist (1608) reflects the world of his time’s attitude on violence and the insensitivity of a positive resolution. Although, these two paintings showcase incredible technique and attention to detail, the context is what is integral to the audience’s understanding of their world

He joined the Renaissance, Flemish School movement. He is called the father of oil painting. Little is known about his early life and background. Until 1425, he worked as a painter and restoring pictures at the court of Duke Johann of Bavaria in The Hague. In the remaining years of his life, he worked as court artist to Philip the Good (31 July 1396 - 15 June 1467) who liked his realistic painting. His painting was detailedly realistic depictions and natural light. He often painted with many religious subjects and portrait artworks. Most of his artworks were humanism because he primarily emphasized on the humans in his paintings. The major Netherlandish painters of this period were Rogier van der Weyden(1399 or 1400- 18 June 1464), Jan van Eyck, Dieric Bouts (1415- 6 May 1475). The artists were influenced by the Early Italian Renaissance. The characteristics of this period were rich colors, attention to detail, realism, frescoes, and a religious work. Since the 15th century artists had no art supply stores, they should grind pigments and add egg to make paints. It called tempura. The artist of Portrait of a Man in a Turban is Jan van Eyck. The medium is oil on oak. Dimensions are 19.0 x 25.7. He used many firebrick, sienna, black, and burly-wood colors. The Current location of this

After viewing the video called “ Van Eyck, The Arnolfini Portrait”, I am really amazing by Van Eyck used the technique of applying layer after layer to created these deep rich colors to help to highlight the realism and to show wealth materials Giovanni Arnolfini. The oil paint also allowed Van Eyck to capture very good details of texture and diffuse light by showing the light coming from the window to reflected on the couple and several objects.

“I should like to do portraits which will appear as revelations to people in a hundred years’ time.” - (Vincent Van Gogh, 1890). More than a century later I would say he completed his goal. In the painting “Postman Roulin” we see a man with a large beard parted in the middle. The man is facing the viewer however his body is at a 45 degree angle left of the viewer. He is sitting in a wooden chair with his left arm resting on a table corner. Van Gogh made twenty five paintings of the Roulin family, seven of which were of Joseph Roulin (Postman Roulin). What makes this painting so unique is that this is the only one of the postman series that depicts more than just the face and shoulders.

Jan Van Eyck used composition throughout the work to give the viewer a better understanding of the painting. As show in Figure 1, Wedding Portrait, an asymmetrical balance is used in the painting. This means that if the painting were to be cut in half, it would not mirror or reflect itself. There is no rhythm present in Wedding Portrait, because there is no repetition of elements. In Figure 1, nothing seems to be out of proportion or scaled to a different size. The painting does seem to have emphasis and accents, and unity throughout the work. The emphasis in the painting are Giovanni Arnolfini and his wife, because as show in Figure 1, they are in the front of the painting to show that they are the main focal point. The accents in art, are the lesser focal points of the painting. In Wedding Portrait

Alison McNeil Kettering discusses masculine identity portrayed in Dutch portraiture during the seventeenth century as an identity that was not set in stone but instead malleable. She begins by explaining that his character and his accomplishments valued a man, and not fancy outward appearances, and that codes and conventions for representing masculinity required an image of dignity, self-control, and professional identity. Artists took great care to create the appropriate imagery to portray such a man, using black restrained clothing, upright postures, and the corresponding social character. In contrast to these ideals, the author presents imagery considered effeminate during this period, such as Niolaes Maes’ Portrait of Simon van Alphen

In this painting it is talked that the man in the left front is suppose to be himself. As viewers can see he paints himself away

. The face itself is rather large for the torso, but that is seen in a lot of Van Eyck’s portraits because he likes to portray his skill, economy and speed. For the face detail, Van Eyck uses white with small quantities of red and blue. The different tones give certain features of his face a highlighted glow. This portrait kind of resembles the sfumato used in the portraiture of Leonardo da Vinci

In the 15th Century the use of oil paint allowed artists to achieve great detail in their works. Oil paint is slow drying, making it easy to blend and allow for shading to add depth to the painting. The oil paint makes the pigments in color more lustrous and when applied in numerous thin layers artists were able to create a radiant effect. When we look at Jan van Eyck Man In A Red Turban, we can see great detail in not only the face but in all the folds of the turban. We can see all the wrinkles in his face, around his eyes and mouth. The use of shading from lighter to darker helps to define the folds in the fabric of the turban. It also appears that there is light reflecting back in his eyes. With the oil paint Jan was able to create a very

Each artist is an individual with a unique style, and although these styles can be similar in practice – the individuality of the artist often proves the discriminating factor for a successful artwork. Self-portraits are beneficial when looking at the individuality of the artist as there are two aspects to look at – the artist’s style, and the artist’s view of him/herself. The latter can provide a brief insight into the mental situation of the artist as well as any apparent influencing factors of the artwork. This view can often also include fragmental insights into the society and culture of the time. Rembrandt van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.

Portrait painting thrived in the Netherlands with the increase in production driven by interest in the idea of personhood and the definition of the individual self. Portraits help document the development of a personal identity as it connects factors like marital status, class, and profession. A common portrait genre produced during the seventeenth century portrays their subjects with an impassive demeanor with little vigor. At first, these paintings may be evaluated as lacking “personality” or “characterization” due to the artist’s lack of talent. However, this is rarely the case. In trying to understand Dutch portraiture, it is important to identify what type of functions they serve. Abraham de Vries’ Double Portrait functions not only as recording of his sitters’ faces but also as a signifier of the cultural, social and philosophical ideas of the time.

There is much diversity separating the Renaissance Era amid the Modern Era. Nonetheless, some differences are obvious, some are less. Between the two images that are located below are some of those changes that are less conspicuous. Both of these styles of art use chiaroscuro, authority, and iconography. There is a greater emphasis on shading to emphasize specific aspects of the image. This pulls the observer’s eyes to what the portrait is trying to say about the character in the image. In this instance, the character is the differences in styles between Queen Elizabeth I and Queen Elizabeth II. Although there are a few hundred years between the reign of Queen Elizabeth I and Queen Elizabeth II a lot of the symbolic value of wealth remain synonymous.