Portrait of Marten Looten Essay examples

Then there are also many psychological lines to be seen in the work. One such line is of the woman and the floor, where she is staring down towards it. Another is from the young child and the store clerk, showing a defiance between the two. Next, light and value are not very contrasting in this painting, with only the basic highlights and the shadows seen. It isn’t completely contrasting or contradicting since the colors blend well together with close to the same value ranges, dark colors seen throughout except for the people’s pale faces. There also seems to be a variety of light sources since the woman’s face along with the shop clerk and the young boy’s is lit up by what seems to be a light bulb since they’re much brighter and highlighted and then the men and women in the back aren’t really as bright, except for the ones who close to the open door, creating a blue tinge from the outside light. The shapes shown through the painting is shown to be either very round or very geometrical. There are organic shapes in things such as the umbrella or even the back of the chair, but mostly it is either straight lines and geometrical shapes. The volume shown in the painting is very much implied, correctly showing the

Rogier Van der Weyden was a Flemish painter of the mid-15th century. Rogier was chiefly influenced by his first teacher, Robert Campin. Although details of his early training are sketchy, it is generally accepted that he entered the workshop of Robert Campin, the foremost painter in Tournai and dean of the painters' guild, in 1427 at the age of 27 (http://www.belgium.be). Rogier remained in Campin's studio for five years, becoming an independent master of the guild on August 1, 1432. Van der Weyden was not permitted to sell his artwork while studying in Campin’s shop. From Campin, Rogier learned the ponderous, detailed realism that characterizes his earliest paintings, and so alike are the styles of these two masters that critics still do

Schindler’s List is a significant teaching tool in high school across the nation. There are far too many places worldwide that hate, intolerance and genocide still exist. The movie is not only about Jews or Germans it is about humans as a whole. This movie is about racial hatred and how many people still practice it nowadays. With the hope that Schindler’s List will awaken an awareness of such evil and inspire this generation and future generation to seek an end to racism. One aspect of how good and evil are portrayed in a number of different ways throughout the movie. This movie will remind high school students that there is hope no matter how difficult life may get, hatred still exist and how evil people are. I strongly agree that every

“There is no easy walk to freedom anywhere, and many of us will have to pass through the valley of the shadow of death again and again before we reach the mountain top of our desires”. These are the words of a man, Nelson Mandela, who fought for something that many would shy away from. He led the anti-apartheid movement, became the president of the African National Congress Youth League, and later became the president of South Africa winning the Nobel Peace Prize.

What is odd about the painting is that usually the face is masked during surgery, but in the painting it is not. I feel that Rembrandt did is because I feel that even though

There is no truer adaptation of a Baroque painting than this. During this time there were great revelations of science which catapulted further interest in the sciences. The Anatomy Lesson of Dr. Tulp portrays a scientific discovery. As Dr. Beth Harris points out and as seen in Fig. 3, Dr. Tulp’s left hand is moving in a way that would show how the tendons of the dissected hand would work (Smarthistory, 2015). Additionally, Baroque period artists often sought realism in portraits, with an attention to physical details, and a focus on the dramatic including the contrast between light and shadow and the use of rich, deep colors (MindEdge 2.01). A real test of its time, this portrait is almost photo-like in its adaption of realism and the physical detail exemplified through the facial expressions of the onlookers. Furthermore, Rembrandt sought to emphasize the action depicted in this portrait through by almost illuminating the corpse

Rembrandt uses oil on wood in one of his earliest self-portraits, depicting himself in a fabulous costume that includes a plumed hat, a silk scarf, and an elegant jacket complete with gold trim. There is a heavy use of shadow, concealing half of his face, with the left half being illuminated by a sole source of light located out of the frame. His face purposefully lacks an expression, as if to create an open-ended illusion of confusion. Unlike most of his works, this painting is quite large, having dimensions of 35 by 29 square inches. Although Rembrandt had already begun to attract serious attention, he had not yet received any portrait commissions by 1629, so this piece may have been created to show off his artistic abilities. This self-portrait currently resides in the Isabella Gardner Museum after it was purchased in 1896 from a private collector, Lieutenant Colonel Sawyer.8

The shelf between them adds interest with the now outdated and unusual instruments, but the whole of the work doesn’t portray any real sense of importance other than historical record. On the contrary, the realistic detail of the piece is amazing and well communicated through Holbein’s excellent use of light and shadow, as well is accuracy of form. The light source is centered behind the artist and shinning directly onto the men and desk, illuminating their figures. Both man and desk cast a simple shadow to aid the concept of full illumination, but the textures of the clothing, curtain, instruments, and other items are expertly portrayed in the artist’s use of small harsh shadowing and his blend of shading. The large, contrasted, elegant portrayal of the left man’s clothing creates emphasis that repeatedly drags the audience’s eye back to this area. Such a vast use of pattern and color, on the other hand, make any other emphasis less detectable and almost allow the oddly placed blur on the bottom to escape attention. Eventually, its lack of balance and seemingly disproportionate look snatch its deserved attention and force the viewer to get creative in recognizing a figure. This is when the side view of the skull can be

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

In the set of the reading and the lecture, the author and the professor both discuss Rembrandt, a well-known dutch painter, and his paintings. On the one hand, the reading argues that Rembrandt did not create his own paintings because of the woman clothes, Rembrandt’s method of light and shadow, and the back of his paintings. On the other hand, the lecture opposes the reading’s opinion by stating that Rembrandt painting totally belongs to him.

He used different composition of a picture and made the artwork lively and creatively. But that’ new ‘form does not accepted by the militia because they paid same money but different size of them. They sued Rembrandt to the court and got win. Since then his career began to decline, he began to fall into debt and late-life depression shadowed by ‘Night Watch’The artwork used form as theatre, the group of militia going to the street, the two leader walked in the front. There are only two leader and a girl are light. Others are all in the dark. The artwork comprehensive use of light and dark colors, Rembrandt creates shadowy depths and bold moods in his rich oil painting. Until nineteen century, because of the oil painting lost color, the surface’s oil got darker, so that people think that artwork explains night scene and called ‘The Night Watch’. After the technique improve, the professional machine appraisal that Rembrandt used day light for the artwork.

Rembrandt is a famous seventeenth-century Dutch painter. Despite his fame and prestige, some experts are not certain whether a few of “his” paintings were actually created by him. One of these paintings, a portrait of a woman’s face, has been called Rembrandt’s due to its style. But, there is evidence that suggests the portrait was painted by a different artist.

The model was probably someone who was lower class and he did not feel it was an issue if they were recognizable in his painting. There is no evidence to suggest that this was Saskia because she was used in many other portraits of Rembrandt’s and it is clear that faces do not match. There is also no real proof of Geertje Dircks facial features and therefore we cannot say for certain that this is she but this painting was completed in 1636. This shows that Geertje Dircks and Hendrickje Stoffels were probably not the models since they did not come into Rembrandt’s life until years later.

The most common of these portrayed garments were the generic Berets that have now been typically associated with the common artist as a stereotype. Looking at the untitled self portrait of 1657 (Figure 1) you can see Rembrandt’s attention to detail and his persistence to achieve life-likeness. He has built up the wrinkled brow, the puckers of skin, in very detailed and effective passages of reddish colours. You can see the application of chiaroscuro in this painting which is obviously intentional as even his clothes, including fashionable beret, are dark to help with the distribution of light and dark with the focus being on his face. This self portrait is one I consider to be among his best. This work provides an insight into Rembrandt’s indifference to self-consciousness as you can see an aged, wrinkled man with a large broad nose and gray wisps of hair, all of which he has made no attempt to positively alter, he simply strives for realism in his works and finds no reason to alter the physical reality of his work for mere aesthetic purposes. It provides an insight into the culture of the time with the fashion state Rembrandt has depicted himself in as well as the common chiaroscuro methods used in the painting which were common for the culture or society of the time. The self-portrait of 1630 (Figure 2) shows how even from early in his career Rembrandt strove for realism in his works. You are once again struck by the honesty

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the