The, Portrait Of Dirck Building, Floor 3 And Find The Following Paintings By Rembrandt And Jan Lievens

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

Each painting draws influence from their individual location of origin, mostly in subject, to appeal to the patrons of the time. While each piece was created within the 17th century, there are obvious differences from place to place in how they were meant to be created. This is evident in the materials used for the paintings, Velázquez’s piece being oil on canvas, Hui’s being a hanging scroll consisting of ink on paper, and

The first painting was of a women painting inside the painting, and it looked liked she was in Egypt, and in one hand the women was holding a compass and in the other was a paper with math on it. The second painting looked like a family traveling somewhere in the 17th century. Both of these paintings were representational art. And both of these artworks also tell a story in a unique way. And there also seems to be hidden messages scattered around these paintings but if you look closely they open a hole new meaning to the art. The second painting looked like it belonged to an artistic tradition due it being English. The first painting was called the Allegory of Geometry, and the artist who made this was Laurent de la Hyre. The second painting was called Landscape with Country Carts, and the artist who created this was Thomas Gainsborough. Thomas Gainsborough personality played a role in creating the art, he was a landscape painter, draughtsman, and printmaker. He also surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. After doing a visual analysis of the artwork I noticed that the Allegory of Geometry was more sharp than the Landscape with Country Carts, it had more detail in it. A formal analysis can be useful to tell an artist's use of aspects such as color, shape, line, mass, and

Prompt: Select and fully identify two paintings from different art historical periods and cultures that depict the same subject or theme.  Then discuss how the presentations are a reflection of the culture and style in which it was created.

The palette used by Lievens is extraordinarily bright, colorful painting. It is an extremely detailed painting, some of which comes from the painterly technique used in the brushwork, and there are visible brush strokes that add to the details of the painting. In the museum, the piece was hanging where the viewer’s eye level is approximately in the middle of the painting.

the roles of those two important races in America of the time. The painting is related to the time of slavery (1619-1865) and the unequal positions between the Negros and whites. Finally, I have observed that the unknown painter detailed the whites’ men face very well, yet the black men and woman’s face appears faceless or without identification. This is a representation of the European view towards Negros as a uniform object or animal.

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.

In both of these paintings Jordaens uses aspects that are inherent in the majority of his works. He incorporates two well-known details; the anatomy of human bodies—men appear robust, hardy and strong, while the

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.

It is through the cultural perspective represented in these arts that we recognize how political authority was being portrayed during that time and how it portrays the cultural identity which was being practiced during those times. In both examples, there was exercising of power as represented and seen in the portraits and their significance and this is still relevant to us in our current life because there is still political authority and power. Both examples are showing how important it is to represent the whole cultural massage within a framework in which people can relate to and convey the significance. Both the portraits have elaborated the political theme generally and by analyzing them, we can learn the culture which gives us a rounded way of looking at situations, politics, power and from that we can rewind that experience from the past and see how different and how similar it is to our own. From this we gather and obtain knowledge which is important in how we view the world around us. In both examples, power and authority has dominated the portraits and despite this similarity, there is a difference on how it was being delivered. In the first example which is Portraits of tetrarchs (late empire Rome) it showed how the authority was solid and stable and how the emperor worked together to ensure that there was

First, the reading passage states that there is something inconsistent about the way the woman in the portrait is dressed , and she is wearing a white linen cap of s kind that only servants would wear-yet.But the the listening passage against this idea and it mentions the first color was not a part of the painting and they try to make as the original one. In addition the reading passage states that Rembrandt was a master of painting light and shadow, but in this painting these elements do not fit together. In contrast the listening passage claims that Shadow remove and the original color can be seen, and the light color can be reflex and show a part woman face. Moreover, the reading passage mentions that, examination of the back of the painting

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

He presents himself in costume, with a painters stick and hat. His older age is shown in his wrinkles and greying hair. Rembrandt is still showing dominance of painting with his stance and fantastical costume, as though he is a deity of painting. However, in his Self-Portrait with two Circles there is a change in how he represents himself to the viewer and the relationship he has with painting has also changed. There is more light showing his grey hair and the extravagance of his clothes and jewelry has diminished. Although, he is still wearing a gold chain it is not given the same attention as his chains in his earlier portraits. He is wearing a basic painters hat and smock with brushes and palette in his left hand. His identity has moved from master to servant of the art of painting. Rembrandt is no longer hiding behind shadow and objects. I think that Rembrandt had always tried to paint his relationship with painting but in this last self portrait he is able to surrender to his ego as an artist. He goal was to simply paint himself, similarly to The Artist in His Studio. This work satisfies his inner need to represent himself and the act of painting. He has been able to do that without creating a tailored and exaggerated

At first, the author argues that there are some unusual variations in the woman's way of dressing. Although her coat is luxurious, her white linen cap is cheap. conversely, the lecturer brings up the idea that X-Rays and analysis have demonstrated that the fur collar is added to the original painting many years later, probably to increase the value of it.

The lecturer claims that the paining named “Portrait of an Elderly Woman in a White Bonnet” was originally painted by Rembrandt. It contradicts the reading passage’s assertion that there are many doubtful points to regard the painting as the piece of Rembrandt’s work.