William Hogarth Age Of Reason

It is unknown what the exact meaning of this portrait is, but there are many ideas. What we do know is this couple is already married and the male depicted in the photo is an Italian merchant. In looking at the décor and their clothing, it is known that these two subjects are wealthy. This can also be concluded due to the oranges on the left side of the portrait near the window as oranges were expensive in this era. If you focus on the mirror in the back of the room, you can see that there are visitors. Around the picture frame is the passion of the Christ. Note the attention to detail in this portrait. Van Eyck used a technique in this oil painting that hadn’t been used by creating such voluminous and rich colors by applying many layers of thin paint to get the colors you can see in this portrait. This technique is what made the colors glow as beautifully as they do. There are so many different aspects in this photo that gives it so many layers and meaning, and that is what renaissance art was

The front of the painting shows three African American men in the time of the Harlem Renaissance. Each of the men are doing something different. Near the three men, are factories blowing out smoke. In the lower right hand corner, a man is being held back and dragged down by what seems to be a hand made from the smoke, showing that he is still doing work that he does not want to do. Below him are cotton fields, where slaves used to have to work and do hard labor with little to no pay. The man on the bottom left side is shown to also have the hand by him, watching his moves. He is in a pose where he is frustrated and seems to have given up on his dreams. Closer to the center, higher up, stands a third man, playing a saxophone. Music can symbolize freedom and awakening. Along the outer edges of the painting, the colors are dark browns, reds, and oranges. As the focus is drawn closer to the center, lighter colors such as yellow. Darkness, as an archetype, represents despair and the unknown while lightness shows hope, renewal and intelligence. The goals of success, exuberancy, and harmony showed hope and renewal in change in

The first element I look at to describe the painting was the title. Reading the title with the year gave me an idea of what the painting could be about, which in this case would be ambassadors during the Reformation of Europe. After beginning to view this piece of art, the first aspect I notice is located on the foreground of the painting which is a skull tilted to an angle where, if viewed from other perspectives, people could mistake it for another object. After recognizing the skull, I assumed the painting was a historical subject of the two figures standing or a narrative over these two-people standing proudly as if they accomplished a grand achievement through realism. Afterwards I concluded that the subject view would have been focused on the two men standing. The next object that caught my attention was those two men standing, especially the one standing in the lighter colored clothing. Soon after I examined the items in the background while trying to identify them. Most of the tools and other objects I couldn’t determine but it gives insight to how scholarly the two men could

All the figures in the painting have different expressions on their faces. For example Mr. Columbus starrs dirrectly at the group of coucil men sitting infront of him to convince them of the new world he had discovered. He stands infront of the crowd, looking like a honorable man, with his chesting bulsging out and his right footing pointing forward. His left hand is holding a map, while the right firmly points at it. There is a concil man sitted next to where Christopher stands, looks down at the map to validate Mr. Columbus agruement. There are three figures standing on the left excluding the king and his guides. These men seem so suppresed by what Columbus is telling them, that one of them grab the other firmly on the shoulder to perheps ask him how all of it is possible. The king on the other hand opens his month wide in disbelieve and his hands lift up at about a 30 degree angle, as if he was attempting to stop Columbus from fabricating more lies. On the far right of the painting, there is a boy with what appears to be a map that he is showing two men on his right.; they both starr at it while the other lean forward with his hand placed under his chin. Human drama remains me of Giotto style in Italy 1400-1500. He was the first artists to incoporate human drama into his work by including little details of gustures and emotions. This very artist was great at expressing different types of emotions on the faces

The age of reason was a time of new responsibility and knowledge. This was a time where people were questioning traditional authority. Numerous amounts of books, inventions, essays, and other big discoveries were being produced and it changed people’s outlook and also opened up a new world for new religion and freedom. There was responsibility that came along with all these new publishing. Writers were being asked questions and people were responsible for the way they reacted to the new literature. Thomas Paine a writer who had a great deal to do with the Age of reason said “We have it in our power to begin the world over again”.

When Romanticism comes to mind, one would think of love; but this Period involved so much more than just intimacy and compassion. Stemming from the destruction of war, and the Industrial revolution, people began to voice their opinions about the world through the arts. Mary Shelley revealed this expression of romanticism mostly in her Well-known novel Frankenstein. “Romanticism was a literary movement that swept through virtually every country of Europe, United States, and Latin America that lasted from about 1750 to 1870.” (“The Romantic Era” 1).

Within the painting there are multiple figures who are all centered around Jesus. There are some people who are sitting at a table who seem to be eating food. There are others who are around the feast table, some people are playing instruments, some are meeting up with others, others are helping serve those sitting upon the table, and some people at the top of the buildings seem as if they are looking at something above them. There are other items depicted within this painting such as animals. There are animals not only surrounding the people at the table, but there are even some animals shown on the table and on people’s body. There seems to be something above the wedding in which a lot of people are gazing upon, when looking at it, it seems to be a lady at the top of this building but it is unsure of who this

Everything he paints and where he places objects has meaning. Every seemingly small or extraordinary detail could change the whole message the viewer receives. Behind the woman, we see a mirror, and in that mirror we can see that in front of her is a man in dark clothing and a top hat. He looks like a rich man and many believe the man is Manet. We can also see that the mirror is oddly distorted, if it was actually behind her, her reflection would be directly behind her not to the side. We know that this choice was intentional, she also is not facing her self. This could be because she does not want to look at what she has become. Maybe she does want to be rich but is not proud of what she has done to get try and get there. She is not facing herself because she no longer knows who she is. She doesn’t look to herself because she has lost sight of herself in the vanity. She wants more and more but as she gets more she loses more of herself. This is why her reflection is not behind her. Its to the side to show that her inner self is leaving her. Her inner self is becoming disconnected. She’s losing the true her as she morphs into this upper class woman. We don’t see the man in black in the foreground because she has lost sight of him too. She lost herself and him in the process. The mirror is her past, the past she’s left behind and the past she slowly losing. The message the painter is trying to portray is even though you

These images are some of the most amazing and extravagant images of their time. The elegance of this Rococo painting cannot be duplicated, it has a total of five other scenes that go along with Marriage A-la-Mode. Like many Rococo paintings it uses themes of romantic and erotic love. The allegory of Rococo artist William Hogarth, Marriage A-la-Mode is the choice between vice and virtue, to marry for money or for love (Zucker &Harris). In the Two Ways of Life photograph by realist artist Oscar Gustav Rejlander, was made by composite printing. This photo also shows an elaborate allegory of the choice between vice and virtue, represented by a bearded man leading two young men from the countryside onto the stage of life (The Collection). Both paintings give an excellent example of hedonism.

The Arnolfini Portrait is a very cleverly composed single picture story. Various singular objects, depicted within the image, all of which contain an individual meaning/symbol. For example, the oranges within the painting display the couple’s wealth, for such a fruit would have to been imported during the times the wedding took place and would cost a small fortune to purchase. Two pairs of wooden shoes can also be seen in the image, one a bright ruby red the same as that of the bedding and couch symbolizing fertility, the other plain and wooden representing faithfulness. Both, bride and groom, depicted can be seen with pale skin draped in lavish furs, the bride also displaying a high forehead and wrapped in a blue underdress. This not only

These paints are both genre paintings meaning they are scenes of daily life. They both have a single scene, meaning that one moment is being depicted. Usually a pivotal moment in a "story". They both have very different and interesting narratives though. In Steen's piece he "depicted the proverb ‘As the old sing, so pipe the young', meaning that a bad example leads to bad conduct" (Mauritshuis). The people are drinking heavily in front of children which shows a bad example and bad lifestyle for the children. You can see on the right the young boy taking a pipe and mimic that bad behavior, and the grown man encouraging that behavior and even laughing about it. Steen painted the people with large bodies but the children seem to have normal proportions compared to the adults. Maybe he's suggesting that adults get morphed and sin as they get older, while children are pure and whole. The women on the left also seems to be very promiscuous, with her dress unbuttoned on the top, showing a lot of cleavage for the time. What also strikes me is that her foot seems to be all the way out from under her dress and is clearly seen that her foot is on a foot warmer. Which at the time showed that you were open to new romance or just open to having a sexual relationship. In Vermeer's piece, we see a woman and her maidservant. The maidservant has just handed her a letter, and the woman looks shocked or even confused. The expression on her face is so

Ultimately, the actions of the people in the painting reflects to the French Revolution. The women taking care of her sick child and making sure that he or she’s oka. The little girl sitting down seems to be really lonely and sad because of how poor they are and how they have to work for hours. The old man playing an instrument wants to make the people in the room happy and to forget about their problems that they all are

First, the lecturer exposes that someone else than Rembrandt introduced a change in the colors of the painting: the collar that the woman wears in the portrait was in fact of a different color in the original painting, and thus intended to represent a material different than fur. In conclusion, all of the pieces of clothes that the woman wears in the painting are consistent and do not belong to different social strata. The person who introduced the change tried to make the painting look like it depicts someone from a high

Toward the end of the eighteenth century, the Enlightenment thought of reason bit by bit offered path to another significant movement in art and thoughts, Romanticism. This movement reflected a big interest both in nature and in the ideas and feelings of the individual. From numerous points of view, romantic writers and thinkers responded against the beliefs of the Enlightenment. “The central message of the romantics was that the imagination and emotions of the individual should determine the form and content of an artistic creation” (Perry, Chase and Jacob). The visual and literary arts were deeply influenced by Romanticism; they trusted that all creative expression was an impression of the artist internal emotions and a painting should reflect

Strenuous effort is devoted to humanizing his characters through their expressions. In the Ill-Matched Lovers, Massys introduces irony to the traditional wedding portraits by using characters rendered less-than-ideal. The facial expressions alone contradict traditional portraitures like Ercole de’ Roberti’s portraits of Giovanni II and Ginevra Bentivoglio, which depict an ideal wedding portrait. Giovanni II and Ginevra are both seen unemotional in their portraits; masklike features and impenetrable stares revel little of the sitters’ personalities. Profile portraits like these recalled the images of emperors and deities on the ancient Roman coins and medals that were so highly prized at the time, insulating the message of the couples unattainable status. Moreover, the profile format, which isolates the sitter from the observer, was particularly appropriate to Giovanni’s position as a strong-willed politician. Contrastingly, Massys interest in dramatic expression and gesture is apparent in the highly expressive faces of the fool and the old man characters in the Ill-Matched Lovers; they are effectively juxtaposed with the pale and beautiful look of the young woman. This moral satire is a compliment to the writings of the humanists and intellectuals of the