The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien is oil on canvas painting by artist Élisabeth Louise Vigée Le Brun in 1787. This painting comes from the later part of the 18th century called Neoclassicism. The overall painting measures at exactly 123.4 x 155.9 cm (48 9/16 x 61 3/8 in.), while the frame measures at 177.8 x 203.2 x 19.1 cm (70 x 80 x 7 1/2 in.). The figures are well arranged close to each other, on the left in her blue elegant gown is the Marquise de Pezay and on the right in her red gown is the Marquise de Rougé with Her Sons Alexis and Adrien. The 18th century draws upon a number of things; the earlier part of the 18th century was dominated by the stylistic period called the rococo which was a cultural reaction. The later of the 18th century which was dominate by the neoclassicism style, which was a political reaction against the environment of aristocratic and royal France. This painting is a prime example of the countermovement from the French monarchy in an attempt to deceit the French people. The French monarchy wanted to be seen as if they are caring bunch when instead they were living their luxurious lifestyle in the comfort of their beautiful home and only catering to people in the same class as the majority of French people are working tirelessly on the fields.
Eyck’s painting was a peculiar one in that it’ was the first painting in several thousand years that had the subject facing forward, eyes gazed at the viewer. His eyes pierce you with realism. The subject has a subtle and calm pose that makes him out to be a regal, intelligent man. The background behind the man is solid black; the man seems to materialize from darkness making the man and especially his fiery red turban pop out and art definitely the main focus. The man in the turban is said to have actually been a portrait of van Eyck himself, however this seems to only be a theory as there is no hard evidence to back that up.
Jeanne-Louise Dumont Farrenc; born May 31st, 1804 in Paris, was a virtuosa pianist, teacher, and French composer who started out during the early romantic era but remained unknown to the world. She comes from a very large dynasty of famous sculptors; such as her brother, Augustin–Alexandre Dumont, her father, Jacques–Edme Dumont, her grandfather, Edme Dumont, her great–grandfather, François Dumont, and her great–great–grandfather, Pierre Dumont.
Since the Italian Renaissance had been spread to France, the French upper class encouraged the local artists to improve and share their art with other northern countries, thus opening the period of Northern Renaissance. Comparing with the Italian artists, the Northern artists pursuit the natural and realistic art style. When the northern artists are creating the works of art, they focused on the details of the process, in order to make the works look lifelike. After the processing carefully crafted, the surface of artworks, is generally considered that expressing the spirit of the artist. As for the technology of painting, they had improved the development of painting technology by combining a few materials in painting, which means that they did not only use tempera or oil in paintings. The Arnolfini Wedding Portrait, one representative of the Northern faction, was painted by Jan van Eyck. The reason why this painting is such well-known around the world, is the pigment composition of the painting and fine description of the scene. Thus, the pursuit of natural style has been highly recognized by the
The period of Baroque art was from 1600 to 1750, and relates to the style
Jan van Eyck painted portraits and religious paintings during the Northern Renaissance. He painted portraits of royalty and other wealthy people. Van Eyck also painted religious paintings for the church. Van Eyck was one of the only Northern Renaissance painters who could read and write. He signed his own paintings with a clever signature. He also wrote lengthy inscriptions on his paintings. Van Eyck’s work is still copied today.
As I closely approached the painting I began to realize the differences between Jan van Eyck and Michelangelo’s “Last Judgment”. Contrary to Michelangelo’s “Last
During the 17th century, especially after their break from Spain, The United Provinces of the Netherlands became the most prosperous nation in Europe by leading the world in trade, science, and art. Through the huge and one of the first art markets, art became a common household possession and allowed artists to freely express themselves, which is one of the evidential factors in three of the most universally admired artists of the baroque art era. Rubens, an influential Flemish artist of the Italian baroque scene, focused more on the works of the counter-reformation while the masters of the Dutch baroque art, such as Rembrandt, were in the heart of the protestant Dutch Republic. These three artists share similar artistic styles but yet have extremely evident differences and influences. The artists’ work also have a great portrayal of the historical and social impacts of the 17th century.
In this essay, the difference between Northern Baroque and Italian Baroque styles of painting, the differences between a male and a female interpretation, the narrative differences, and the psychological dilemmas they present to the viewer will be discussed.
Italy can be looked at as the home of the renaissance and consequently the immergence of great art. Artists such as Michelangelo, Botticelli, Da Vinci, and Raphael are some of the greats and are looked at for standards. But what about the artists whose lives are mysteries, and their works that were influenced by the greats? These artists hold just as much importance in the history of art as do the artist’s whose names can be recalled off the top of an average person’s head. During the sixteenth century things began to change in the art world, and that change was the Baroque. This new style of art brought a revolution to how subject matter was painted, it brought upon “… a radical reconsideration of art and its purposes…” (249) and how artists of all ranks could learn to paint the up and coming style of Baroque.
One of the best Netherlandish Renaissance panel paintings is "The Arnolfini Portrait," by Jan van Eyck. Painted in 1434 on 3 vertical oak panel boards. Its dimensions are 32.4 inches x 23.6 inches; panel 33.3 inches x 24.6 inches. It is on display at the National Gallery in London. It is a full length portrait believed to portray an Italian merchant, Giovanni di Nicolao Arnolfini and his wife. It was painted in 1434, but the wife in the picture died in 1433 Jan van Eyck applied thin layers of translucent glazes to intensify both color and tone. The realism of this painting is achieved by intense colors, variations in shade and light, the look of three dimensional forms, almost perfect textures, and the use of direct and diffused light. This painting is of a richly dressed couple, in what might be a reception room, with a bed, chest, and blooming cherry tree outside. The deep symbolism of many objects found in this painting are reinforced using color, light, and many of the principals and elements of art.
It is hard to believe that what began during the Renaissance would be followed by what we refer to as the Baroque period beginning in the 1600’s and later the Rococo. The term Baroque was first used in the eighteenth-century by critics in a negative way. “To the eyes of these critics, who favored the restraint and order of Neoclassicism, the works of Bernini, Borromini, and Pietro da Cortona appeared bizarre, absurd, even diseased—in other words, misshapen, like an imperfect pearl” (Camara, E., n.d. para. 12). Stylistic style differs in the Baroque period with the use of interrupted contours, dynamism, and instability. In addition, artists were moving toward a more realistic subject matter and not the idealized portrayals we saw in the Renaissance period.
Jan van Eyck has been one of the more prominent early Netherlandish painters during his time. He has had many famous works, however one of his more interesting and questionable pieces is The Arnolfini Portrait. There is much to be desired in this painting by the great van Eyck. Van Eyck has been a master painter most of his career, but in this painting he is able to show how his excellent painting skills can bring this painting to life. The Arnolfini Portrait, which measures 82 × 59.5 cm (32.3 × 23.4 in) is an oil painting on oak panel dated 1434. This painting is also known by other as The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portriat, or Giovanni Arnolfini and his Wife. It is one of the only 15th century