Les Riches Heures

As I looked at other illuminations from this book of hours, I noticed that the foreground of each usually appeared to be very small and limited in space while I found that many of the background spaces were filled with some type of pattern. This folio is a perfect representation of this style that the Limbourg Brothers implemented in their manuscript work which I kept in mind to include as I did my own recreation of the folio.

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

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

The narrative of Davis’s monograph and Vigne’s movie has similarities and differences as well. For example, the return of Martin Guerre after eight years to the court in the neck of time is basically the same in both works, but the starting point is different in terms of time and place. The book starts with a detailed background of Martin’s family, their journey from the Basque region to Artigat, and how they adopt the life of the new place by changing their names, changing their customs, and learning the language so that they become like the villagers. On the other hand, the film begins with villages of Artigat and soon with the marriage of Martin and Bertrande in order to capture audience’s attention to be engaged in watching the film. However, the movie’s director ignores all the background of the Martin’s family.

The visual elements in a work of art can be made up of various different types of elements. “Composition, harmony, proportion, light, color, line, texture, mass, and motion are all part of the vocabulary of sight. We tap this vocabulary, and the patterns that go with it, when we compose or frame images”. The visual elements that are portrayed in the engraving of “Ullysses at the Table of Circe” by Flaxman consists of lines, shape, space, texture, and color. “Viewers bring to the act of seeing individual sets of conscious and unconscious reactions that affect their response to the visual stimulus put before them. This is the beauty of images, even in their most minimal form— such as a single line”. The lines that are used in this work of art are

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

In this essay, I will attempt to explore the function of the traditional Book of hours from the medieval period by analysing the form, decoration and content of the books of hours as well as the functional purposes of the book itself. I shall be focusing on two specific books of hours; Hours of Jeanne d’Evreux, c.1325 - 28 (currently in the Metropolitan Museum of Art in New York) and the well-known Tres Riches heures, c.1412 which was owned by the French Prince John, the Duke of Berry (1340 – 1416) who had been known as a collector of illuminated manuscripts during this period.

The feeling of temptation is an emotion most people have felt in their lives. Temptation has been illustrated in Christian religion since the beginning with Adam and Eve. Portraying the emotion of temptation has varied from artist to artist, in all; the viewer will continuously understand the awareness of the feeling. The oil painting “Temptation of Saint Hilarion” by Octave Tassaert was painted around 18571. When examining this art for the first time, the viewer is thrown into a world of dark colors and emotion. As our eyes grow accustomed to the image, we start to understand the message behind the madness of temptation. In the next few paragraphs, we shall analyze Tassaert’s work by looking in depth of the form, symbolism involved in his

For this essay I will be unraveling two poems to find a deeper meaning from The Norton Anthology of World Literature, Volume B. The two poems are “A Lover’s Prize” by Beatrice of Dia and “The Wound of Love” written by Heinrich von Morungen. Heinrich and Beatrice are considered to be medieval lyric poets; however, Beatrice was a medieval lyric poet from France and they are known as troubadour. Beatrice just so happened to be apart of southern France’s trobairitz which was just a tribute to some of the best troubadour of their time. She was married to the Count of Viennois, Guilhem de Poitiers but she was having an affair with another troubadour who went by the name Raimbaut d’Orange and their poetic style was quite similar. However, when it comes to Heinrich von Morungen not much is known about him. From the little we know about Heinrich, we find that, his style of writing fit into the category of Minnesang which means “songs of love”. His lyrics (that have survived) are also some of the greatest in early German history. Nonetheless, these writers have both put forth some impressive work.

In “Patron or Matron? A Capetian Bride and a Vade Mecum For Her Marriage Bed” Madeline Caviness argues that the purpose of imagery in the Book of Hours is to instruct Jeanne d’Evreux. There are four levels of imagery features in the illuminated manuscript; the first depicts scenes from scared history (hagiographic events or Gospel), the second shows the queen twice represented as supliant, the third is uncolored and unframed figures involved in secular activities, and finally images that are “uncolored and unframed "decoration," using human figures, chimeras, and beasts, forms line endings or fillers in the margins and around the initials. On colored grounds, these motifs invade the initials themselves.”(334) Together this representations guide

1. Both Bernard of Clairvaux and Bonaventure show an appreciation for the natural world not seen in many of the other authors that we read. In what way does this appreciation guide their theologies and mystical journeys? How are their journeys similar and how are they different? Be sure to touch on their understandings of human nature and each author’s methodologies.

Marcel Proust was a twentieth century French writer best known for his novel In Search of Lost Time (À la recherche du temps perdu) and at over 3000 pages, it is one of the longest novels ever written. This book is difficult to summarize but essentially the work is about learning to appreciate life and existence, rather than focusing on the superficial aspects of the mundane. These ideas are portrayed through Marcel, who is the narrator and the principal character of the novel and by the secondary characters he meets during his life. This work was published in the nineteenth century but Proust’s ideas are reflected in Claude Lorrain’s Pastoral Landscape with the Ponte Molle and in Hyacinthe Rigaud’s Portrait of Louis XIV. Even though these

Charles Baudelaire’s poetry is a great example of when two seemingly opposing styles of writing, romanticism and realism, meet. The two intertwine in this work to form a masterpiece of natural beauty and painful realism. His use of nature to drive many of his deeper contemplations gives this work an air of romanticism. He contrast this beauty by discussing topics that a writer of strict romanticism would typically stray away from, such as the strongly negative reality of human behavior. However, the combination of these two styles that appear to stand in opposition of one another is part of the unique and haunting beauty that Baudelaire offers in his poetry.

Beginning with the Renaissance (1400-1600) we see a change in the subject matter being portrayed by artists of the time. We can attribute this change not only to the change in patrons, from the Christian church to wealthy bankers and politicians, but also to the growing body of scientific knowledge. “The Renaissance was