Pieter Bruegel's Oil Painting

The purpose of this paper is to give a detailed art analysis of the oil on canvass painting, Light of the Incarnation (Lux Incarnationis),1888, signed and dated: lower right. This analysis will also include background of its artist, Carl Gutherz (1844-1907).

As I walked to The Art museum to observe a few of the art work. There were many canvases, but one particular canvas that caught my attention was an oil painting. The oil painted canvas is of a realistic mysterious woman and a phonograph, by the artist named Robert Bean. The woman shown in this painting has short dark brown hair with a long black beautiful one shoulder dress; her skin color is very light that gives that beautiful glow. Her long black dress has a mixture of dark blue and white. She is standing with her arms semi-crossed with one hand holding a small white fan. The small fan has a design of brown flowers. She is standing sideways on the right of the canvas with a piece of light green fabric around her arms; the light green material has a tent of light blue and

Have you ever gotten so into a song or a piece of music that you feel like it is a part of you? In Peter Vigil’s Painting, Celle-no Hands Required he describes just that. In the painting, Celle-No Hand Required, Peter Vigil uses bold color use and solid lines to express that musicians don’t just play their instrument or music, they become it.

The flourishing art market of this era and the high demand of Pieter Brueghel the Elder’s paintings drove his son to dedicate his time to recreating a body of low-priced and inspired replicas of his father’s peasant scenes works (ArtUK, 2016). Akin to his father, he painted sceneries, religious matters, axioms and small town landscapes. The paintings were sold for local sale and export and were generally noted as missing humanism and nuance. In addition, he did create authentic

Pieter Bruegel was born to paint. Many people in his family were painters, such as his wife's family. Pieter painted beautiful landscapes and scenes from peasant life. His paintings use wonderful colors and proportion. He was from Italy, the birthplace of the Renaissance and was a very gifted painter. Pieter Bruegel was a Renaissance man. He painted many realistic scenes of peasant life. His paintings resembled the idea of realism in this time period. It showed what peasant life would have looked like. Bruegel was born in modern day Netherlands. He contributes to society and the legacy of the Renaissance by painting realistic scenes. Many historians get an idea of what peasants life would look like because of his accurate and realistic paintings.

Pieter Bruegel was nicknamed “Peasant Bruegel” because he usually depicted commoners. Additionally, there was a rumor of him being born a peasant since he only depicted them in his art. He portrays the peasants very closely, right down to the worn costumes and vehement gestures they are making. Since he paints peasants so accurately and closely, he must have observed their day to day life with fascination. Pieter Bruegel was interested in peasant life and saw a potential to use them to depict morals in his artwork.

Telling a story in a painting is common for artists, but Pieter Bruegel the Elder was capable of doing more than that: some of his artwork had multiple stories embedded in them, which had much more meaning than a single narrative could have. Bruegel was famous for painting landscapes and peasant scenes. He differed from Southern Renaissance artists, in that he gave more space to the landscape in his paintings. Bruegel employed folk to present the moral values, and he used elevated viewpoint to create more space for landscapes in his paintings.

Pieter Brueghel was a Netherland painter whose paintings focused on humans and nature. Many of his paintings were scenes of humans, generally peasants, living life, with back dropped by beautifully detailed landscapes. Pieter was not just an extremely talented artist; his perception of humans and their environment was an amazing contribution to all art, but especially landscape painting. His painting The Harvesters is an example of his supreme skill, and shows how much his work impacted landscapes. Four contributions that can be seen in this painting are:

I chose a work of art in page 368. The swing, Figure 12.25, paintings by Jean-Honore Fragonard in 1766. which show the frivolous sexual escapades of the members of the French aristocratic class in the mid-eightteeth century. The painting is done in pre-French Revolution era. When the elite was enjoying the worry free lifestyle; which is full of love, lust, and wealthy social life, exquisite clothing. This is clearly shows in this picture, The swing. Medium in this painting is Oil paint. The positive area of this art work is the aristocratic women who is enjoying the swing. The natural patterns in this painting is the freshness that come from the trees and leaves around the women.

In this painting, Pieter Bruegel the Elder addresses a sequence of individuals ongoing a series of actions leading towards a falling perspective. He presents these features by painting a scene filled with torture and darkness. Throughout his painting, Bruegel obtains many emotions from his characters projected in his creation by paying specific attentions to major and minor details. These are portrayed as effective evidence to what this painting implies to the viewer himself. With an orientation of texture and colour choices, the painter implies a chain of characters leading into darkness and sorrow by his striking choices of posture and facial deformities. Bruegel illustrates an art with implications of history and physical appearances

Franz Marc worked, typically, with oil paints, which is a paste made with ground pigment and a drying oil. When not working with oil paint, he often used watercolors; watercolors are made from paint with a water-soluble binder, and then thinned with water rather than oil. Franz painted on canvases, but occasionally painted on

Bruegel’s drawing and paintings are considered Renaissance Flemish Baroque paintings, which is art from the Southern Netherlands during the 16th and 17th centuries. Bruegel’s paintings were an invention of moving away from the princes, queens, kings and wealthy divine paintings, to the life of the peasants. The common people caught the eye of Bruegel, possible from the political and religious conflict that surround him in his world.

The first major change from the myth to the painting is the time period where the story is taking place. One of the major indicators of the change in time period is the city that is located in the upper left-hand side of the painting. The image features a city filled with buildings that would have fit in with those seen by Bruegel during his life. The architecture appears to be what would be found in the Netherlands, with the tall buildings with sharp points where the two sections of roof intersect and the buildings packed tightly together as if to stay warm throughout the harsh winters. On the peninsula farther from the audience there is a small church which can be identified by its tower rising above the town, another architectural staple of Bruegel’s time. Additionally, the roofs are painted a red color. This color also serves to set the painting in Bruegel’s time as the red roofs would remind a viewer of Renaissance Italy and not Ancient Greece. The red roofs also demonstrates that Bruegel wanted the audience’s eyes to go to this spot on the painting as the red color contrasts with the surrounding white and blue. With the city, Bruegel effectively sets the painting in his own time and demonstrates through his color choices that he wants the audience to know this. Setting the painting in his time is significant as it demonstrates to the viewer that the message which is being delivered is a modern message.

"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.

In Martial Raysse’s vibrant painting Printemps (Spring), a sea of flowers is spread across the canvas and located in the upper right corner is a neon blue sign with the title of the piece. As an oil on cloth painting at the size of 51 1/8 × 38 1/8 × 3 1/8 in. located at the Menil collection in Houston, TX, its usage of color, rhythm, and balance the piece comes together to highlight the society’s growing desire for change following the middle of the century.