In 1655, Rembrandt van Rijn, a Dutch painter and printer, created a painting known as, “Titus at his desk.” On a 77x63 cm canvass, Rembrandt depicted a young boy who seems as if he was attempting to accomplish his studies, but in the end, he was lost in his thought. This oil painting in essence, is a great example of the artwork done in the Baroque era.
In this artifact, two of the formal elements are most noticeable to the viewer. The first one is space. This painting displays a lot of open space surrounding the subject (Titus). The open space surrounding Titus is used so that the focal point of the viewer is on Titus himself. Now Titus has a very contemplative, faraway look in his face, his eyes. Rembrandt uses the space surrounded the subject,
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The painting, shows a careful consideration in which tones of brown, red, and black were to be used in the painting. The difference in the darker shades of brown in the background and the lighter shades in the front, creates a nice and even balance in the painting. The balance is even shown in the light-brown/cream complexion of the boy who is placed in the middle of the painting. From there it starts to go back to dark brown colors, but not as dark as the background of the painting. The second element shown, is that the artist emphasizes on the boy himself, rather than his surroundings. Rembrandt makes an effort to differentiate the difference between the boy’s clothes and the wall by gradually changing the color. But he doesn’t not change it so much that it becomes the focal point of the painting. The second thing he emphasizes, is the contemplative, almost lost look in the boy’s eyes. Rembrandt wanted his viewers to focus on the fact that the boy was not focusing on his studies, because he was thinking about something that seemed far more important in that particular moment.
“I rose up in the silent night; I made my dagger sharp and bright”, was created by Sir Edward Coley Burne-Jones, in the Baroque period. This 12.7x14.6 cm artifact, was drawn by pen, black ink and scratching out over graphite and wove paper. This drawing, created in c. 1859-1860, portrays one of the stanzas from the poem written by Alfred,
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These two are line and space. The prominent use of lines in this painting is to compose the submarine. Straight and curved lines are used to create the outer shell of the submarine, while mostly lines with a slight, or deep curve are used to portray the belly of the submarine, and what is inside. Some of the lines are seen in the outer space surrounding the submarine, those curves and lines are used to make the appearance of ripples and small waves in the water. The negative space surrounding the submarine, is not only to represent water, but it’s to draw the viewer’s eyes to the main focus which is the submarine. But not just the submarine, the intricate engines, tanks and people working down in the lower decks as well. The disproportionate negative space surrounding the submarine, makes it so that the viewer is not distracted by anything else and is able to concentrate on the operating system of a submarine and its crew
What first catches the viewer 's eyes are the vivid colors used in the painting. Ultimately what jumps out the most is the man on the right 's red robe. The artist intended this for a reason, discussed later. The room where the men are standing is front lit. Also the atmosphere is
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
The art piece that I selected for my analysis is called The Triumph of Divine Love by Peter Paul Rubens. The artwork is an oil painting on canvas, circa 1625. This piece of art was commission by Isabella Clara Eugenia, Infanta of Spain and Portugal. The Triumph of Divine Love was one of eleven art pieces in a series portraying the Eucharist cycle, an important issue in the Catholic-Protestant strife. Its purpose was to aid in the Catholic Reformation and the artwork was to be displayed at the Convento de las Descalzas Reales in Madrid. (Ringling Museum n.d.)
Hirsch uses bright and subdued colors to represent the rank and status of the paintings occupants. The color of the chairs in contrast to the blue-black background gives the illusion of space. He utilizes highlights and shadows throughout which gives the viewer the impression of light cast onto the scene from outside. The light bounces off the reflective surface of the king’s head as well as the silverware and gold goblets. The shades of green and yellow give the fruit on the table a real feel to it. The smoke raising becomes transparent as it swirls upward and finally vanishes. The use of color shows the importance of every element from the
There is also a mirror placed on the table allowing the viewers to link with space beyond the frame. Also in the far back right of the painting you can see a young man talking to an elderly. The artist created an very old or old-fashioned look by using opposing colors, red and green. “The second half of the fifteenth century in northern Europe saw an expansion of genre
The use of line in this piece is also very interesting. The artist employs a high horizontal line to create a plunging effect giving the piece more depth. Another use of lines in the image is to create focal points to attract the viewer. Lines are also used to separate the different sections of the painting. Overall this painting uses lines in dynamic ways that vastly enhance the viewers’ pleasure and admiration of the piece.
In this painting, two visual elements stand out over all the rest. These elements are that of color and texture. Color in art is an element that has to be phenomenal in order to get recognition and true appreciation from the viewers. In this painting, the colors are rich, vivacious and standout as dark, but bold representations of the uniqueness of it all. The use of brown and yellow and green and grey and white all come together in a harmony of color and unity. As for the texture in the painting, it is that of brisk and roughness that is nature. The sharp edges of the bucks rack and the cold, rough edges of the dead tree show
We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.
As indicated by the shape in the foreground, the lines that signify the contour of the rocks and freestanding structure merge. The lines lead the eye vertically as it meets the center. When looking at the painting as a whole, the viewer can see how the artist uses straight
One of the more famous artists of the time, Rembrandt, created many paintings as well as etchings and wood carvings. One of his paintings known as Monk Reading (Fig. 1)demonstrates the stanch influence of Protestant principles. In Monk Reading the solitary monk is seen reading alone almost concealed by his cowl. This inwardly transfixed individual is brought to the foreground in traditional baroque style by being placed on a dark background. The Monk's gaze is thoughtfully on the pages in his hand which shed the only luminescence in the painting. Unlike many Baroque paintings, depicting extreme emotional circumstances such as murder or other foul acts, this Monk appears to be contently in deep thought while studying the text in his hand. He seems relaxed and reverent which is contrary to most examples of Catholic Baroque art and indeed many examples of Protestant art.
Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.
Each artist is an individual with a unique style, and although these styles can be similar in practice – the individuality of the artist often proves the discriminating factor for a successful artwork. Self-portraits are beneficial when looking at the individuality of the artist as there are two aspects to look at – the artist’s style, and the artist’s view of him/herself. The latter can provide a brief insight into the mental situation of the artist as well as any apparent influencing factors of the artwork. This view can often also include fragmental insights into the society and culture of the time. Rembrandt van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.
Rembrandt van Rijn was born on July 15, 1606 in Leiden, Netherlands. He came from a large family where he was the ninth child. His father was a miller and saw to it that Rembrandt had an excellent education. Rembrandt began attending the University of Leiden, but really wanted to study art. Eventually he left school to become an apprentice to the artist Jacob van Swanenburgh. He also was a student of the painter Pieter Lastman. Company Frans Banning Cocq and Willem van Ruytenburch , known as the Night Watch is a Rembrandt painting which dates from 1642. It is a company of the bourgeois militia Musketeers Amsterdam , Frans Banning Cocq controlled , leaving weapons of a building. This painting is in New Rijksmuseum in Amsterdam, which is
The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the
You can see the attention to detail, light, and shadows. All of the detail in all of his pieces clearly show the sharp eye Rembrandt