Deconstructing A Maturer Pieter De Hooch

The Netherlands in the Seventeenth Century was the home of many famous artists, most notably Rembrandt Harmenszoon van Rijn, but also many lesser known artists such as Pieter Claesz.. Pieter Claesz was born in 1597 in Berchem (near Antwerp) Claesz moved to Haarlem in 1620 and lived there till his death in 1660. He is most associated with the Flemish and Dutch still life tradition and still lifes make up a vast majority of his work. His 1628 painting Still Life with a Skull and a Writing Quill is a prime example of the Still Life style called Vanitas, so named as the artist would attempt to display the vanity of materialism.

Since the first brush stroke was taken in Europe, the paintings that have been produced have played a vital role in revealing our world 's past, history, religion and daily lives of its citizens. Each time period and movement have influenced artists from its first existence to even this very day, creating an extraordinary timeline of art and history as one. Frans Hals ' Merrymakers at Shrovetide of 1615 and Francois Boucher 's Interrupted Sleep of 1750 are no exception. Despite their different time periods and movements, the two paintings each have many parallels and at the same time very distinct styles which play on how influential artists ' styles are upon each other. Even with all of the differences and similarities, both paintings are

Voltaire’s Candide is a complex literary work that sheds the light on many themes and exposes different problems of the 18th century. And the subject of women is one that was rarely if ever discussed in a period where male domination was still in its highest. The first evidence of this is the fact that in the entirety of Candide, a novel hugely dominated by male presence and power, exist only three women referred to by names and given bits of back story. Nevertheless, despite taking a back seat to Candide, Pangloss and other male characters, these three women are essential not only from a story related

Throughout the Renaissance, many talented artists tried to express deep symbolism in their paintings, but no one came close to the ability of Jan Van Eyck. His paintings were so accurate and realistic that it was necessary for him to paint his miniaturists with a single strand of hair, on a brush. Jan's Arnolfini Wedding Portrait (1434) is so photo-realistic that it has been debated for decades of it's legality of a wedding document. This paper will help to understand Jan's extreme use of symbolisms and the multiple meanings of his Arnolfini wedding scene.

From the beginning to the end of the story, Glaspell showed the differences between men and women at that time. How they were viewed, their roles in society, and their roles in this story only strengthen those stereotypes. The timid female characters, Mrs. Peters and Mrs. Hale “The women have come in slowly and stand close together near the door” (Gaspell 1281), clearly showing a reluctance to enter a widow’s empty home. The men, however, “go at once to the stove” (Glaspell 1281), and start discussing what happened the previous day. The different movements of the characters show the difference in attitudes between the men, who just walk right into an empty house they now know belongs to a woman. The women on the other hand, hesitate to infringe upon another women’s privacy. The men believe they have a right to enter her home since no man lives there anymore, showing their lack of respect for the widow.

This paper gives a comparative visual analysis of two artworks from the same period; “David Slaying Goliath”, by Peter Paul Rubens, c. 1616 and “The Sense of Touch”, by Jusepe de Ribera, c. 1615-1616. Despite the fact that the artworks are from the same period, they are both unique in terms of details and the themes they represent. This visual analysis compares and contrasts the way in which the artists employed the different characteristics of the baroque movement to come up with their unique compositions.

In the essay Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still-Life Painting Celeste Brusati organizes in a way that shows three different types of still lifes and how they can help identify an artist. She starts by showing the lesser of the extreme of artists who are impersonal in their works, and then goes on to show examples of those who are much more personal and more self representative in their works. What Brusati argues is that still life paintings perpetuate the social identity of the artist, and how a portrait can be a pictorial representation of them.

The book begins with Corrie celebrating the centennial anniversary of family’s watch shop in Haarlem, Holland. The shop continues on with normal operations even though this is a festive day. Many well-wishers flowed in and out the shop with gifts. Out of all of the flowers received,

In her novel Girl With a Pearl Earring, Tracy Chevalier constructs the story of Griet, the imagined subject of Vermeer’s famous painting. In doing so, she sheds light on the culture of 17th century Holland, particularly the tensions and differences between the communities of two Christian sects. Born into a Protestant family, Griet is forced to work as a maid when her father cannot support the family. The artist Vermeer becomes her master, and she must learn to navigate his Catholic household. As Griet reacts to the new culture she has been thrust into, many historical references to 1660s Dutch society can be found.

It is hard to imagine anything more fascinating for an art historian than the symbolism in the works of Hieronymus Bosch. In fact, very little is concretely known about Bosch’s life. This muteness makes the master who was so fond of setting riddles a riddle himself . Perhaps, it is vain to surmise exactly what influenced Bosche’s kunstwollen. For this reason, a biographical approach will not suffice in coming to terms with a specific creative impulse. This essay endeavors to explain why the triptych painting The Garden of Earthly Delight, epitomizes the Believing Impulse. This category evidences an interest in the divine as a dominant value. This value guides representation of the unseen world in visual media. It is an expression of the relationship between humans and the divine, and between the mundane and divine world(s).

Comparison between works by George Seurat and Pieter Bruegel the Elder Society is dynamic, and often we don’t realize how much it changes. From the year 1567 the Peasant Wedding by Pieter Bruegel the Elder to 1886, A Sunday Afternoon on the Island of La Grande Jatte by George Seurat reflect society’s values, beliefs, and position at the time when the works were created. A Sunday Afternoon on the Island of La Grande Jatte reflects the high class Parisian life, meanwhile the Peasant Wedding reflects the simple common folk’s life of the Netherlands. The life that is reflected in the two paintings is almost the complete opposite of each other. The purpose is to compare the two paintings, and look at how a painting can give the viewer a clear image of the way people lived and interacted.

Before moving to Louvain, Bout’s works were known for their lack of realism in their anatomy. In his paintings, his human subjects had stiff and angular compositions. Once he settled in Louvain with his first wife and children, his work gradually showed greater treatment to figure with more defined severity and dignity to the subject. Within his work, he was highly praised for “depicting the countryside”. He was able to make vast landscapes that perfectly illustrate the different times of the day. Deric was fluent both in tempera, and the new oil painting. His style was full of color and he was greatly recognized for his Dutch origins that showed through in his work. He was able to sell many works as Netherlandish art was in high demand in his time because of the Netherlandish

The unique way of describing the graphics about global trading in seventeenth century by Timothy Brook in the book Vermeer’s Hat: The Seventeenth Century and The Dawn of The Global World indeed bring a new and vivid view of art and history, so fresh and interesting, makes me like being in the world of that “age of discovery”, and indulged in the proceeding of macroscopic to microscopic changes in the cultural history. Under Timothy Brook’s writing, the seventeenth century’s painting is no longer display of pure reproduction of scenery frames, but becoming the picture clues of global commerce and culture mixture. Through detailed analysis and interpretation of the paintings, the different parts of the world linked like the Dutch city of Delft, the Ming Dynasty of China, the Americas and the Philippines together in one book, building a broad view of the 17th century, about global trade and cultural exchanges...

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

In this piece I will be showing the role of women in the 18th century