Emily Cole-230841 Unit 1
Analysis of Still Life Vanitas Paintings
Antonio de Pereda Antonio was a Spanish painter born in 1611, most known for his still life paintings. He was brought up in an artistic family as his mother, two brothers, and dad were all painters which influenced him and his art. Antonio first started off doing historical paintings in Madrid, but is mostly known for his still life paintings. His most well known painting was the 'The Knight's Dream' which is an oil painting of a man asleep in a chair surrounded by an angel, and objects such as skulls and armor, which is very similar to his painting 'Allegory of Vanity' as both paintings are based on vanity and have a deeper meaning within.
Analysis of 'Allegory of Vanity' The beautiful painting by Antionio De Pereda is created using oil on a canvas and very crisp colours have been used on a dark background which gives a strong contrast of light and dark colours. The words 'vanity' which is in the title of the painting means there is a hidden meaning within the painting, but what is that hidden meaning?
It is said that the economic situation in Spain may have inspired Antonio Pereda to use the symbol of Vanitas in a way that represented his society at the time. This mirror of society's main focus is contrasted by other objects in the painting such as the candle which represents the speed of life passing by due to the fact its been blown out, the skulls are another thing that represents a similar idea, as he portrays death with luxurious items that not all people can afford during his time to show that no matter how successful or rich we are in life, we will all end up in the same place and face death when our time is up, hence the clock and timer in the painting.
Allegory of Vanity The fact that the candle has been blown out could also foreshadow that time is over and that you are now in darkness which could be showing death.
The skulls in this picture could represent another aspect of death as skulls can be uses to show a dead person.
The armor and war equipment in this painting could mean war leads to death.
By Antonio de Pereda
The women in the picture looks lifeless and also has angel wings which again, shows aspect of death as angles are associated with heaven A dark and dull background may be representing an eerie meaning of death as the whole layout is representing that maybe time is up.
The hour glass timer that has reached the bottom suggests to me that time has ran out, this could show that someone's life Is up.
Hanrick Andriessen Hanrick Andriessen was born in Antwerp and was mainly known as a still life painter who joined the Guild of St.Luke in 1937 which was where he learnt many artist skills. Most of his work is under the category of Vanitas. Vanitas is a type of symbolic works of art which is mostly associated with still life paintings of the 16th and 17th Century in the Netherlands. Most of Andriessens paintings have a meaning to do with death and decay. Vanitas style paintings are was meant to remind viewers of life, pleasure and death.
The picture is showing the main themes of time and death which does link to 'vanity'. The most significant signs to me that’s shows death would be the skull as it’s the most obvious feature because it shows decay of the body once you no longer exist and that’s how we will all end up no matter your wealth or status. Other objects in the painting that may reflect on death could be the bubbles. You wouldn’t usually associate bubbles with death however they are reflecting that you live in your own bubble but once the bubble has popped its gone forever. Other objects in the picture such as the mask portray a sense of deceipt and untruthfulness, it could be reflecting no matter who you are under the mask we will all end up dead.
Another symbol of the passing of time is the clock in the bottom left of the table. The fact that a clock is showing expresses the fact that life is timed and once you hit that time you are gone forever.
With these style paintings, they usually include deeper meanings and signs that people have to look into. The technique of foreshortening is used within this painting, foreshortening is when there is a sign something bad may happen. For example we can see in the photo that there is an object hanging off the table which suggests something bad may be happening or will happen once it falls within a matter of time as its by the clock which shows the passing of time. The second object that is suggesting something bad may happen is the candle holder that has fallen. The fallen object may be showing that someone is going to die due to the deathly objects surrounding it such as the skulls.
Harmon Steenwyck Harmon Steenwyck was a Dutch painter of still life and nobility of fruit. He was born in 1612 in the Netherlands and died in 1656. Some of his artworks are called; Vanitas Still Life, Fruitstilleven, Still Life with Fish and Fruit and many more famous pieces. At the time of Steenwyck's artwork only the wealthy could afford these paintings for their homes, however, many paintings are based around vanitas, which is a dutch genre based on symbols of death, change and time as a reminder of peoples inevitability. A lot of Vanitas still life paintings have deeper meanings and remind people no matter your wealth or status we all end up in the same place eventually.
This Vanitas still life painting by Steenwyck is a small scale oil painting which would feature in peoples homes during the 17th Century. The still life painting is based on vanitas, it representing the themes of time and death. The artist has used many techniques to suggest the theme of death. For example he has used a sharp source of light from the top left corner to make the skull the most highlighted feature in the painting as this is called chiaroscuro. Steenwyck has also used foreshortening, which is when something reflects something bad will happen. For example the shell is near the edge of the table which suggests that maybe death is creeping up on you. The clock which is in the middle of the shell and the skull is showing us that life is limited, times and the most precious possession on earth.
At the time when Steenwyck painted this picture shells were seen as a symbol of wealth as they was extremely expensive and rare possessions that only the rich could afford. Steenwyck has used the shell in this picture to represent an empty body. The shell is empty and this reflects that we will be nothing but an empty shell one day, whether you are wealthy or not. The skull is the most obvious object in this painting that reflects the theme of death. Its stands out the most due to the direct light shining onto the skull. We know it represents the theme of death as skulls are a symbol of your body once you have died.
The blown out lamp is another symbol in this painting representing time. It represents time due to the fact that we can see its been blown out ad finished just like what happens eventually in life, once its over it is over.
Heda By Willem Claesz This is a small scale oil painting, painted by Willem Claesz in 1631. It is a still life painting of food and drink, which is in the style Vanitas. Willem Claesz was a Dutch golden age painter from the city of Haarlem, and he is famous for his still life paintings. He is also known and his work is recognised due to the genre of 'Late Breakfast' still life paintings. This particular painting is enriched with amazing tone and texture which makes it so interesting, for example the peeled lemon on the plate. You can really see the detail and texture of the decaying fruit, which is what Claesz was most skilled at.
Overall this still life painting is reflecting the vanitas themes of time, death and wealth
The glass filled with liquid and a bubble within the liquid reflects the themes of time and death. But how can a bubble reflect this? The liquid surrounding is reflecting death and the bubble is reflecting yourself being wrapped up inside your own world. Once that bubble has popped at a certain time its apart of the liquid which suggests once your time is up you will end up in the same way as anyone else, dead, no matter your wealth or status.
The light is shining down from the top right hand corner onto the objects to make them stand out more (Chiaroscuro)
The half eaten pie in this picture represents the idea that pleasure doesn’t last long. In the century these still life paintings were created there was a wide divide between the higher class (bourgeoises) and the lower class. Objects like fruit, delightful foods (like pies), instruments, armor etc was used to portray wealth in a painting as only the rich could afford it. The fact the pie is half eaten shows that once its eaten the joy of it has gone and the rest has been left to decay which is also mirroring death as the decay of the pie shows it is going off.
The clock in this picture ties the whole image together of the aspect that the picture as a whole represents the passing of time. The clock shows that time is passing and once you've hit a certain time you will experience death, like the bubble, once its popped its gone
The lemon in this picture represents a variety of things which makes it so interesting compared to the other objects, apart from the fact that there is an amazing amount of detail within the lemon in each segment and the decaying skin there is a much deeper meaning. The Lemon is usually a symbol of wealth due to the fact that the higher class usually had them rather than the lower class as they were costly fruits. The fact that it shows wealth is this picture links with the theme of death and implies that no matter your wealth or status you all end up the same. The lemon is also portraying the passing of time due to the fact that its being peeled and is decaying over time. Once the lemon has decayed its rotten and no good, just like death. Another symbol the lemon is suggesting is deception. The lemon is deceptive because from the outside and the skin the lemon looks sweet, vibrant and tasteful however once opened and tried the lemon is bitter, sour and will decay over time. This means that the lemon is not as good as it seems once tried, and this reflects life because life is not always as it seems and isnt always perfect no matter your status.
The trophy like object that has fallen over in this painting is also foreshadowing that something bad may happen anytime soon. The fact that it's fallen over shows that its not meant to be like that which means something could happen. The lemon skin hanging over the table also represents something terrible is about to happen and this could be death due to the fact that the lemon is decaying.
Holbein The Ambassadors The reason I am going to analyse this painting is because it links into the themes of time, death and wealth just like the other paintings I have analysed..
The Ambassadors, 1533, is an oil on oak painting created by Hans Holbein. As well as being a double portrait, the skillful painting also contains still life objects which have deeper meanings, the painting also has hidden objects which can be seen from a different perspective which mirrors the fact that it also has hidden meanings. From the first glance of the picture you will interpret two wealthy, educated and powerful men wearing expensive clothing. The man on the left is Jean de Dinteville, aged 29, French ambassador to England in 1533 and the man on the right is Georges de Selve, aged 25, bishop of Lavaur. The men are surrounded by still life items, for example on the top table you may identify a globe, and on the bottom table there are instruments and books.
Hans Holbein Hans Holbein was born in Augsburg in 1497, and died in London aged 45, in 1543. He was a German swiss artist and printmaker who worked in the Northern Renaissance. Holbein worked mainly in Basel as a young artist. At first he painted murals and religious works and designed them for stained glass windows and printed books. He also painted the occasional portrait, however his most well known piece was the Ambassadors painting. The Northern Renaissance was an northern, European cultural and intellectual movement of the 15th Century in France, England, Scotland, The low countries and Germany that placed more emphasis on the religion that the Italian Renaissance did.
This painting is based on Henry the 8th and religious reasons, as King Henry wanted to detach him self from the Roman Catholic church so he could divorce his wife and these two ambassadors are there to stop him.
The hidden skull in this painting can only be seen by standing from the right side of the painting. The reason the skull is placed in this picture at this angle is because people were forgetting at this time about religion and to lead a good life to end up in heaven and were focusing in more and wealth and wealthy objects such as the objects on the table.
These are some of the objects on the bottom table, placed above the hidden skull. These objects are showing deeper meanings within the painting. For example, the instruments on the table such as the guitar, are representing wealth . However a string on the guitar is broken which implies something bad may happen, could this be death as a skull is placed directly under?
Another hidden object in this painting is the hidden crucifix in the top left corner. Once you’ve identified the skull from standing from the right of the painting you can also see the crucifix. The crucifix that is diagonal from the skull is implying you need to focus on your religion more if you want to have a better after life. The fact that all the surrounding still life objects are usually only possessions of the richer class implies that people need to focus less on their status and selfishness and focus more on their religion so they can end up in heaven.
My Intentions After exploring a number of significant and key paintings that have been related to still life and vanitas, my intentions now for my exam piece is to create a another in depth analysis of paintings that are related to symbolism. This will now allow me to create an exhibition on the theme of symbolism. I will create posters, booklets, leaflets, tickets and plans for the display.
Symbolism In Art Symbols in art are often broken down and decoded to represent deeper meanings, whether this may be to do with cultures, relationships, death, time or something else. The motivation behind the use of symbols is varied, for example symbols could be used to assert a position in society, or relationships, to show power, or foreshadow that something may happen. The use of symbolism was prevalent in Christian art and was used to educate the illiterate in the ways of the Bible. Certain saints held symbols so that they could be easily indefinable.
Antonello da Messina The Dead Christ Supported by an Angel Antonello da Messina was born in 1430 in Messina, Italy, and died in 1479. He was an Italian painter during the Italian Renaissance movement. He was known for introducing oil painting and Flemish pictorial techniques into 15th Century Venetian art. One of his most popular and well known paintings was of the Crucifixion of Jesus. Little is known about his early life however he was trained in Naples, then a cosmopolitan art centre
Italian Renaissance The Italian Renaissance was the earliest manifestation of the general European Renaissance. It was a period of significant cultural change and achievement that began in Italy during the 14th century and lasted until the 17th century, marking the transition between Medieval and Modern Europe. The French word 'renaissance' means 'Rebirth'. This idea of the renaissance meaning 'rebirth' stems from the 14th Century Italian poet Petrarch, he divided history into ages for example the Golden age of classical antiquity; the dark age after the roman empire collapsed, and his own modern age, where the values of antiquity were 'reborn' .
The background of the two paintings also differ. Antonello da Messina's painting has a far more natural background that’s detailed, the natural background Is also symbolising the rebirth of the Renaissance as the technique is more advanced unlike the painting on the right where there is no natural, realistic
background to it. The development of artist skills in the Italian Renaissance has developed. The body and skin looks real and more detailed compared to paintings created before the Italian Renaissance. This implies the idea of 'rebirth' of art also during the Italian renaissance as the artwork became far more advanced.
The Dead Christ Supported by an Angel The symbol of wings on top of the figure implies this is an angel however this angel could symbolise the angel Gabriel as she was the angel who told Mary she would have a baby but also Gabriel brought the news of Jesus' death, so the angel is used to symbolise the life of Jesus.
The hidden skull in the bottom left corner is symbolising the death of Jesus as he has just been taken down from the cross where he has been crucified. The fact that the skull is hidden also represents the fact that Jesus' death may not have been known to everyone however him dying was the purpose of his existence as he died to save our sins
The fact that Jesus' legs have been chopped out the painting, and the composition is laid out so the first thing you see is Jesus and his wounds, this gives the viewer a feel of compassion and sadness, it symbolises that he went through pain, the cropped out legs are also symbolising the fact of death as he has just been removed from the cross.
The angels sorrowful face with her eyes cast down, and tears rolling down the cheeks makes a poignant expression of bereavement. This symbolises the sadness and grief of Jesus' crucifixion that effected everyone from this sacred Bible story. The sadness and pain coming from the angel could also be a symbol of the pain Jesus went through to save us.
Primavera by Sandro Botticelli 1445-1510 Sandro Botticelli was born in 1445 in Florence, Italy, and died in 1510 aged 64. He was an Italian renaissance artist who was mostly famous for his well known paintings such as, Primavera, the birth of Venus and the adoration of the Magi. primavera is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli. It has been described as one of the most written about, and most controversial paintings in the world and one of the most popular paintings in Western art. The painting is mirroring a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the growth of Spring. Primavera is painted in tempera on wooden panel, which was Botticelli's usual technique, although sometimes he used canvas instead as the support, and he often modified the standard tempera method by adding oil to the paint. He was also a superb craftsman who used the finest available materials, he applied layer upon layer of paint to create extraordinary subtle effects of tone and luminosity.
Self portrait of Sandro Botticelli, 1475
The Italian Renaissance in Florence Florence, Italy, is often described as the cradle of the Renaissance. In the early 15th century it was home to remarkable group of artists who brought about a revolution in style and set the agenda for much of what followed. Masaccio in painting, Donatello in sculpture, and Brunelleschi in architecture were the most influential of these figures. Brunelleschi revived the decorative vocabulary and lucid harmony of ancient roman architecture.
Mercury Botticelli's representation of the messenger god Mercury reflects and symbolised his awareness of the work of the early renaissance artists in the heroic depiction of the male physique. Mercury, the messenger of gods is symbolised in this picture to be the gardens guardian as he is shown holding his caduceus to hold back the clouds so nothing ruins the garden. This painting was painted during the time of the Italian renaissance, it was the earliest manifestation of the general European Renaissance. The renaissance meant 'rebirth' and this painting reflects the rebirth of new techniques and ideas.
Venus The raised central figure of Venus stresses her symbolic importance in renaissance ide as about love and beauty. Venus is also used in this painting to separate the two different stories on either side of her, relating and symbolising to spiritual love (The three graces) and to physical love (Zephyr's vanishing of Chloris) Although Venus is seen as primarily an a erotic symbol, in the renaissance she symbolised many virtues. The fact that Venis looks elegant and gentle is also symbolising the elegance of spring and the flowers in the garden.
The floral carpet that lies within and under all the figures recalls the flat pattering of the flemish tepestries that were popular in florence at the time of the italian renaissance. The flowers are also used to symbolise the gracefulness of the figures above as all the flowers are untouched and not damaged
Botticelli was a supurb draughtsman and expressive hand gestures were a favorite device of his for adding poetic grace as a symbol to images. This painting is showing hands of two of the graces intertwining elegantly about there heads. This could be symbolising love and unity as there touching.
The three graces in this painting are used to symbolise grace and beauty and we can identify this by their golden hair and ivory skin. There also being used in this painting to symbolise movement as they are dancing around the grass elegantly and gracefully.
Piero Della Francesca, The Baptism of Christ, 1450’s Piero Della Francesca was an Italian painter born in 1415 in the republic of Florence, and he died on 12th October 1492, aged 77. His movement was during the Italian Renaissance. He was also known as a mathematician and geometer. Nowadays Piero Della Francesca is chiefly appreciated for his art. His painting is characterized by its serene humanism, its use of geometric forms and perspective. His most famous work is the cycle of frescoes, The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo, and the Baptism of Christ. The arrangements of this painting is connected to the Golden ratio, as Piero was a mathematician he tended to Use geometrics and mathematics in his paintings and the use of maths and Geometry became the language to get closer to heaven. The Golden section wad deemed a divine proportion and we can see it from this painting. We can see it vertically down the tree on the Left hand side, horizontally through the wings of the dove and in the clouds in the upper half.
The Italian Renaissance Fifteenth-century Italy was unlike any other place in Europe. It was divided into independent city-states, each with a different form of government. Florence, where the Italian Renaissance began, was an independent republic. It was also a banking and commercial capital and, after London and Constantinople, the third-largest city in Europe. Wealthy Florentines flaunted their money and power by becoming patrons, or supporters, of artists and intellectuals. In this way, the city became the cultural center of Europe, and of the Renaissance.
The Golden Ratio As we know Peiro liked to use geometrics and maths within his work, and especially the Golden Ratio, and he used this in his painting of The Baptism of Christ. Many artists used mathematics and things of such like as they thought it could bring you closer to God. In mathematics two quantities are in the golden ratio, if their ratio is the same as the ratio of their sum to the larger of the two quantities. The figure on the right illustrates the geometric relationship. Expressed algebraically, for quantities a and b with a > b > 0.
The golden ratio is also called the golden mean or golden section. Other names include extreme and mean ratio, medial section, divine proportion, divine section , golden proportion, golden cut, and the golden number. Some twentieth-century artists and architects, including Le Corbusier and Piero Della Francesca , have proportioned their works to approximate the golden ratio, for example the painting of Christ being baptised, especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. The golden ratio appears in some patterns in nature, including the spiral arrangement of leaves and other plant parts.
The geometric shapes within this painting is based on the golden sequence/ratio, each shape within the painting have symbols and meanings. For example, the circle is symbolising heaven as it is above Jesus, the square is representing earth, as it is below Jesus and its where the river and grass as lying, and heaven according to Peiro, Christ is symbolising the bridge between heaven and earth. The picture is symbolising the importance of being baptised as without being baptised there is no way to heaven. The fact that Jesus is being baptised symbolises the fact he is clearing all sins and welcoming himself into gods kingdom. Being baptised also symbolises heaven as one of the ways to enter heaven is to be baptised and Jesus wanted to spread this message.
The dove in this painting is symbolising the Holy Spirit. The Holy Spirit is the third person of the Trinity, it is acting as God as spiritually active in the world. A dove can also represent purity and as Jesus is being baptised by John it is symbolising Jesus is pure of all sins and god is present as he is the son of god.
Ghent Altarpiece 1432, By Jan Van Eyck This masterpiece consists of 20 paintings, 12 of which appear when it is opened. The painting was eventually finished in 1432 and is an oi on panel painting, 350x461cm. This gigantic painting is most known for being placed in St Bravo's Cathedral, Ghent in Belgium. On the upper level, God the Father is flanked by the Virgin and John the baptist, angels, and Adam and Eve. Below, saints travel to adore the lamb of God. Jan Van Eyck was one the greatest and most important painters of the Northern Renaissance.He was born in 1395, in Maaseik, Belgium and died in1441. He was an extreamly talented artist who perfected the technique of glazing, which is building up layers of transparent paint. This allowed him to create wonderfully deep colours and to work up minute details. Van Eyck's painstaking craftsmanship was matched by rigorusobersavion. He was extordinairily sensitive to the fall of light.He loved
describing folds in cloth, delineating the precise point at which form turns away from the light.
The Northern Renaissance In the 14th and 15th centuries, artists in northern Europe, began to depict the world in a more realistic way. While Italian artists attained this greater naturalism through the study of anatomy, perspective, and classical art. Northern renaissance artists achieved it by developing and mastering oil paint and paying precise attention to detail. The Northern Renaissance lasted from the end of the 14th century to the end of the 16h century. Many scholars look to the end of the flourishing of the arts under the French king Charles V (reigned 1364-80) and the holy roman emperor Charles IV (reigned 1355-78) as the start of the Northern Renaissance. The Princely courts of northern Europe sponsored the Renaissance much as the cities in Italy did.
Adam and Eve have also been used in this painting to symbolise sin and the end of life. Adam and Eve were the first people on earth, and the first to sin which is suggesting they brought on sin onto the world and that’s why their the people below are praying for their sins to be forgiven to enter heaven.
This particular painting on the panel as many symbols, such as the lamb and the dove that is above the lamb. The lamb is symbolising the lamb of God, which is a title for the Jesus Christ, it seems that all around people are bowing down and hailing the lamb of god which is Jesus, the savior, the lamb is also bleeding which could be symbolising and reflecting the fact of Jesus' crucifixion as the cross is placed by the lamb. The holy spirit is also present In this painting as we can see from the dove surrounded by the sun, the holy spirit symbolises a life like form of God's presence. The painting is relfecting and symbolisng the end of the world as the bottem half of the panel is showing everyone coming together in the name of God and praying, above all this there is god, mary, john, adam and eve all looking down on earth from heaven.
The painting features the figures such as Mary, God and John the Baptist. Mary always symbolises the mother of Jesus, and God is symbolising the farther of Jesus but also the Farther of the world. John is the man who baptised Jesus, so he can be used to symbolise the purifying of sins. We can always tell the figure on the left is mother Mary as the colour blue on her robes symbolises her as it's what she usually wears in bible stories or paintings. We can also tell the middle figure is God as he is the centre of the whole painting, the crown placed on his head also symbolises he is God as he's the King of the catholic faith. The fur that john is wearing symbolises he is John the Baptist as john the baptist is often known to wear that material. The angels in this painting, alongside Mary, God and John, represent that the top layer of the painting is heaven and the bottom layer is land and earth. The angels symbolise heaven as they bring harmony and are pure which is the setting of heaven, the angels are looking down on eart aswell. This whole painting reflects and symbolises heaven and earth, and how the world is about to end due to the people on earth praying to those above, such as the angels.
The Arnolfini Portrait, Jan Van Eyck This is another painting by Jan Van Eyck, the same artist who created the Ghent Alterpeice which was just analysed, Like the Ghent Alterpeice, this painting is filled with symbolism and meanings to be explained and interpreted. Jan Van Eyck created this painting in 1434, again during the Northern Renaissance which was the time that painters started to depict paintings in a more realistic way. The painting is another large scale painting, which is Oil on oak panel of 3 vertical boards.
This celebrated double portrait has long been the focus of scholory debate about who and what this painting actually depicts. It used to be known as 'the Arnolfini Marriage', following this classic interpretation by art historian Erwin Panofsky. Until recently, the couple were identified as Giovanni di Arrigo Arnolfini and Giovanna Cenami, a wealthy Italian couple living in Bruges. However in 1997 documentation was published showing that they didn’t marry until 1447. Experts now say the painting depicts Giovanni's cousin and his wife. What no one disputes is that this masterpeice displays van Eycks skill at using oil paint to create an image of unprecedented illusionism.
This paintings story remains a facinating enigma. It is argued over the questions of, is it a marriage? A betrothal? Or a memorial to Arnolfini's young wife who died a year before this painting was dated? Are the objects ,disguised sy,bols' or are they simply realistic depictions of household contents? For example, as sybolism, is the dog sybolising fidelity of lust or simpl a reference tp the dogs seen in funerary monuments. On the back wall hangs a convex mirror in which two figures are reflected. Arnolfini raises his hand, perhaps to greet them. The painting probably originally had shutters, and so when they were opened , it would have seemed as if the viewer was entering the room and being greeted too.
space, even though the linear perspective is approximate rather than accurate, and the figures are two large in proportion to the room. It is a beautifully balanced composition in which apparently significant elements, such as the chandelier. Van Eyck's signature, the ornate convex mirror, the wife's red shoes, the couples joined hands, and the little dog, are arranges along an imaginarily central vertical and flanked by the figures themselves. The windowed wall to left of the paining is counter balanced by the brilliant red bed hanging on the right. The consistant lighting is part of the paintings realism. The fall of the light and shadow indicates several sources, the window to the front and the open door reflected I the mirror. The sloping floorboards; van Eyck's relied on intuition rather than rules of perspective to create a sense of
Two figures are refleced in the mirrir above which is a latin inscription that symbolises that Van Eyck was here. It has been suggested that the inscription was a marriage certificate, with Van Eyck a witness to the ceremony. However it may simply be an ornate signature.
The couples hands are seen as joined in matrimony, but in the christian ceremony it is both right hands that are joined. In the under drawing Arnolfini grips his wife's hand firmly, here it I slipping through his fingers just as constanza did.
Expensive oranges and imported citrus fruits was included to symbolise affluence and wealth. 'Fruitfulness' and to display van Eyck's skill at modelling its spherical form. Oranges symbolise wealth as they were expensive which implies these people must have been wealthy.
Christ In The House Of His Parents By John Everett Millais 1849-50 Sir John Everett Millais, was born on the 8th June 1829 and died 13 August 1896. He was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1850) generating considerable controversy. By the mid-1850s Millais was moving away from the Pre-Raphaelite style and developing a new and powerful form of realism in his art. His later works were enormously successful, making Millais one of the wealthiest artists of his day. While early 20th-century critics, reading art through the lens of Modernism, viewed much of his later production as wanting, this perspective has changed in recent decades, as his later works have come to be seen in the context of wider changes and advanced tendencies in the broader late nineteenth-century art world. Millais's personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the marriage and her wedding to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work and they worked in concert to secure commissions and expand their social and intellectual circles.
The Pre-Raphaelite Brotherhood and art The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner, to form the seven-member "brotherhood". Their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones and extended into the twentieth century with artists such as John William Waterhouse. The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite".
This painting, also called the carpenters shop depicts Joseph, Mary, Jesus, St Anne and her son, who was later known as John the Baptist and an a unnamed second man presumed to be josephs apprentice, This simple scene is set in josephs carpentry workshop and is full of religious imagery prefiguring Christ's cruxifiction. Jesus has a cut on his hand and a nail sticking out of the wooden bench, and he holds his palm up for examination. His mother sits next to him and raisers her cheek to be kissed; her face Is sorrowful which symbolises the pain yet to come. Joseph is reaching out to inspect the womb and St Anne is about to remove the nail. John is also bringing water the wash the blood away, which also symbolises the baptism of Jesus by John.
The figure of Mary kissing Jesus is symbolising Jesus' crucifixion in many ways. Mary looks upset and painful whilst close to Jesus, this reflects on the scene of his death as Mary stands below him crying and distraught.
This painting is filled with Christian symbols. Jesus' hands is bleeding, as if marked with the stigma, the nail he has cut it on prefigures the nails with which he will be fixed to the cross with. His hand shows the cut but also suggests a sign of benediction, familiar from images of adult Jesus.
John is dressed in an animal skin, a reference and symbol to his later asceticism. Like in the Ghant Altarpiece painting john is wearing fur. The bowl of water he is carrying also symbolises the baptism of Jesus as john was a Baptist. Furthermore, the water can be used to symbolise the holy water that will wash and purify everyone's sins, as that’s what Jesus died for.
Seen through the open doorway, a flock of sheep reminds the viewer of Jesus's title, 'the lamb of god', referring to his sacrifice to atone for human sin. The animals ' interest in the scene also calls to mind Christ the shepherd as his flock of faithful followers.
The Lady of Shalott, 1888 By John William Waterhouse John William Waterhouse was born on the 6th of April 1849 and died on the 10th of February 1917. He was an English painter known for working in the painterly version of the Academic style. His artworks were known for their depictions of women from both ancient Greek mythology and Arthurian legend. Born in Rome, Italy, to English parents who were both painters, he later moved to London, where he enrolled in the Royal Academy of Art. He soon began exhibiting at their annual summer exhibitions, focusing on the creation of large canvas works depicting scenes from the daily life and mythology of ancient Greece. Later on in his career he came to embrace a Pre-Raphaelite-like subject matter. Waterhouse's work is currently displayed at several major British art galleries, and the Royal Academy of Art organised a major retrospective of his work in 2009.
Pre- Raphaelite art This painting, like Christ in the house of his parents, is also in the style of Pre-Raphaelite art. London's Royal academy found a secret society called the Pre-Raphaelite Brotherhood. The three founding members were John Millias, Dante Gabriel Rossetti and William Holman Hunt. They all admired early Italianate art. This painting was inspired by a poem, 'The lady of Shalott' which was based on Arthurian legend. When William decided to make the poem alive on canvas, he focused on lines.
The models expression and the way her head is raised upwards recall the appearance of Lizzie Siddal in Dante Gabriel Rossetti's painting Beata Beatrix. Of the three candles in the prow of the boat, two have been extinguished by the wind, an indication that the lady is almost at the end of her journey and her life. The crucifix lying before is a reminder of sacrificial death and suggests that the lady will find her way to heaven. The leaves on the water represent not just the autumn of life but the Victorian notion of the fallen women. A women who has succumbed to sexual temptation. This detail is a reminder of Millias Ophelia, which has a similar theme and also contains rich symbolism from nature. The chain held loosely in the ladys right hand has kept the boat moored to the island, but it also has a metaphorical meaning, It represents her fears of the unnamed curse that has bound her to her loom and her tower. Letting go of the chain means shes letter herself free.
Intentions After exploring a number of key paintings that have linked to my intention of symbolism, for my exam piece I am now going to create a practical response. I have decided I am going to make an exhibition based on selected works on the themes of symbolism. I am going to create a 3D exhibition model with an illustrated pamphlet and a poster. I am also going to record the process of making/creating all of the above to track and show my progress, where the ideas came from and my development throughout this project.
My Title The title I have chosen is 'Symbolic Mystery'. I have chosen this as my title as I feel sometimes to identify a symbol, or a symbols meaning within a painting, it may require a deep thought process as the symbols meaning may not always be as obvious as we think and may end up being a 'mystery'. For example, an object may symbolise many meanings and it may remain a mystery which meaning the symbol is portraying. I am now going to test out different fonts for my title by looking at ideas on books and posters to develop the final idea.
Font Inspiration
The technique used in this is called a clipping mask. The reason I like this effect is because it only reveals certain parts of the photo. I think this effect would work really well with my title of 'Symbolic Mystery' as the fact you can only see small parts of the photo makes you think what the whole picture is, and it remains a mystery. I also like the font used on this cover as its bold, but simple and sometimes less is more. The fact that its big and bold means its eye catching and appealing but also easy to understand. I would like to try and go onto making my own clipping mask to develop this idea.
The reason I like this is because it is appealing to the eye, and with curly fonts, like this one, you can decrease how curly it looks to match your poster. If a poster or book cover is very plain and simple, a font like this can increase how eye catching the poster may look as its very technical and interesting.
Font Examples
Final Font Ideas The previous slide is showing the name of my Exhibition which is 'Symbolic Mystery'. In a wide range of font styles I have experimented different ways I can portray my title for my exhibition, using several different fonts can show how the appearance of the title can change to fit the topic of symbolism. Out of all the fonts these four are my favorite:
The reason I like this title font is because it looks appealing and sophisticated. I like the way the font isn't to detailed however it's not too simple, which will look good on a poster. The font also looks rather gothic and scary, which could suggest there is also a mystery behind this font.
This font is good for a poster as its not to complicated and easy to read from. It will also stand out on a poster as it's easy to read. It's also not too simple as it has some detail which makes the font look distorted.
The reason I like this font is because it looks distorted and mysterious. The distortion of this font could be used on a poster to match the font. The fact that the font is distorted also links to symbolism as this could be symbolising something.
This is also another favorite font example as its bold and simple, and sometimes less is more if the poster design is very detailed, a plain and bold font may be necessary. This font can also be edited on photoshop to make it more detailed, for example clipping mask.
Clipping Mask After previously looking at the clipping mask effect I am now going to use the effect on my own font ideas to show how different designs can be created with the fonts. Firstly I chose my painting, that links to symbolism, and pasted it into photoshop.
To create this effect I have used the Ghent Alterpeice painting by Jan Van Eyck. I previously analysed this painting as it had many strong links to symbolism, which matches the title. I really like this font and effect behind it as I think it represents a mystery behind the font as we cannot see the painting beneath.
Secondly, I pasted my font onto the painting and cropped it to size.
Then finally, I clicked 'clipping mask' and then merged to two layers to create this final font.
My Final Title
I have chosen to use this font for my exhibition poster as its bold, eye catching and not too complicated. As this font is thick, it can be edited, by using techniques such as the clipping mask. I also feel that the curled style font links to my title as the font looks rather gothic and intriguing just like a mystery. The font also looks distorted which could be symbolising something to do with the exhibition.
Poster Designs
Analysis of existing posters. The picture is filled with words to do with art and the exhibition eg; 'pop art' 'tone' 'colour'. This gives the image a more unique style as instead of using block colours, words have been used to incite the viewer on the exhibition and what arts about.
The poster also contains the dates that the exhibition will be held on and where. However, it doesn’t mention the times. This is something ill consider for my poster as it needs to be as detailed as possible
The pop art picture which is the main part of the poster relates to the title 'Pop is everything'. The use of bold colours will attract the audience to look at this poster as its vibrant and vivid which means they will then look closer and read what the poster is for.
The title of the poster is 'Pop is everything' and then under, it says 'a look into 1950's art'. This title is insightful as its straight to the point explaining to viewers exactly what the exhibition is about without them having to read loads of information and loosing interest.
The poster also contains a deeper and more detailed description of the exhibition which is more optional for people to read as you can already see what the exhibition is about from the tile.
For this art exhibition poster the technique of a clipping mask has been used, I am now going to create my own clipping mask title and each letter will have a painting I have previously analysed behind it. The reason I want to try this technique on a title is because it could be used for my poster.
For each letter I have used paintings that I have previously anaylised as they all have strong links to symbolism. For example, the letter 'M' is The Ambassadors painting that is full with symbolism to do with religion and death, like the Ghant Alterpeice which is used for the letter 'L'. I like this way of displaying a title because its unique and bold what will catch the viewers attention. This title could also be used as my Logo for the exhibition.
The Glitch Effect I have seen this glitch effect and I want to replicate it. I like the use of the glitch effect because it's almost symbolising the passing of time as a shadow is moving away from the man's face. The glitch effect also looks mysterious, as if it has a hidden meaning to why the image is eroded and depicted, which would be a nice link to my exhibition title.
This is my own replication of the glitch, I used an image of a skull from Harmon Steenwyck's vanitas painting. I chose to use a skull as it has strong links to symbolism in that painting. My first impression of the skull is that is symbolises death. I will now go onto developing this glitch into an exhibition title.
This is my first poster idea that I have created by looking at other exhibition posters, I got my inspiration from the glitch effect poster from the previous slide. On the poster I have added my exhibition title which is 'Symbolic Mystery'. I have also added the date, where the exhibition will be held and a small description of what the exhibition will be about. I used the glitch I created on photoshop for the back image on the poster as it relates to symbolism, and I liked the design of the glitch because it looks eerie and mysterious.
My own images / Primary Research These are my own still life images that I have photographed. I have photographed these images and added them to this analysis because they link in with the themes of symbolism like the other paintings. I have used objects such as fruit to symbolise wealth and pleasure, as during the Dutch Golden Age fruit was mainly associated with those who could afford it. The lemon in some of my pictures link to the painting Heda, that I have already analysed. Like that picture, the lemon is used to show deception as from the skin it looks juicy and enjoyable, but inside of the lemon it is bitter and sour. I've also used shells in these photographs because the shell represents death as its empty, like an empty body. Shells have also been used in the Vanitas painting by Harmon Steenwyck to represent the same theme of death. Another object I have used that as a symbol is a candle holder, It suggests there was once a candle there but now it's been blown out and removed over the passing of time. This can symbolise and mirror the fact of our lives and the passing of time as we represent the candle, once we are dead we are gone and over just like the melting of a candle stick. The ways I could improve these photographs could be to improve the composition to make them look more professional. I will now go onto making a second poster with my own images to develop my ideas for my exhibition design.
I will now use this image that I photographed myself and make it into a poster for my exhibition. This is my favorite picture that I had taken due to the composition and the chiaroscuro effect from the lighting. I like the way
For my first development I added my exhibition title of 'symbolic mystery' with my chosen font and added some details about the event, to make this poster more complex I am thinking of adding a glitch affect.
Next, I clicked on blending options and added some effects onto the writing to make it look more appealing and eye catching to the viewer.
This is the final outcome from the previous slide, I added my final exhibition title which was the real font I had chosen already. I also added shadows onto the font with a yellow outer glow so the writing looks more complex and exciting rather than just a plain white font. I'm really happy with how this poster turned out as the primary resource picture in the background has a good lighting, especially on the candle stick and shell. The picture also relates to my title, and symbolism as the objects in the photo each symbolise something, for example the shell may symbolise emptiness as it's
Empty as something would have lived in the shell. To develop this poster further I will now add a glitch affect to it, as that has been an inspiration from other posters. The glitch effect interests me and links to my title as it reflects a mysterious feeling because you cannot see the whole picture under the glitch. I will also play around with the blending options on the title to make it stand out more on top of the glitch. I also need to add the date of the exhibition into the poster.
These are my final poster ideas. From my primary resource painting I created a poster, and added fonts. From that, I added a glitch to the primary resource picture, added my chosen font title and exhibition information. I edited them in two ways to create to styles, one is more eerie and dark, the other is more colourful, however they both contain the glitch effect.
Gallery Logo Inspiration
This logo interests me as an idea I could expand on as it is plain and simple, and sometimes less is more as it's not too complicated to read. Sometimes when things are too detailed It can over complicate things, or be confusing.
Another logo idea that inspires me is the asa logo, it inspires me as its bright and bold which will stand out immensely to a viewer, I also like how the letters overlap each other as its unique.
I am also intrigued by this logo idea, as like the writing on my posters, they have used outer glows and colours around the font of the writing so it will link nicely to my posters and also stand out.
I really like how the letter 'b' is in a circle as its different to any of the other logos. For my logo I could put my initials in a circle and the exhibition title under it as its unique and adding my own twist.
My Logo Design I have chosen to replicate the Beats Logo in my own style. I liked the beats logo style because it is different to any other logo's and it will stand out to viewers as the colour red is eye catching and vibrant.
Ticket Inspiration and Analysis The ticket says 'welcome to Westminster Abbey', However this doesn’t really state where the exhibition is.
The location is also placed on the ticket, as well as dates and times which is useful for the attender. It stated entry times rather than an allday entry.
The day and date has been stated and a random time of 14:28, which may be a bit brief to understand The Southbank Centre is stated in bold as that’s the area of the exhibition.
The price of an adult ticket is stated however no child price.
A barcode has also been added on this ticket to make sure each ticket is real and not forged. This ticket has the title of the exhibition, briefly explaining what it's about within the title.
A barcode is added to scan the ticket to make sure it is legit. A website and number has also been added for people to call or find out more.
Ticket Stubbs For my exhibition, I need tickets so people can attend, tickets need to include a barcode, date, where, when and the price.
Front of the ticket
For the front of my exhibition ticket I added my title with the chosen font, on top of the glitch poster I've already created. I then added the barcode, where the exhibition is, the timings and date.
Back of the ticket
For the back of my ticket the title remains, and I added my logo of the exhibition so it is clear and involved. I also added a weblink where customers can find out more information.
Booklet Inspiration and Analysis As I will be making my own booklet for the exhibition I will anaylse a booklet so I have my own brief idea on how to lay one out and what features it will include.
The front of the booklet contains the title, date and background picture of a glitch, this links to my glitch poster etc.
The booklet also has an introduction that’s explaining the exhibition and its purpose, it also explains the title.
In this booklet they have added information about each room in the exhibition. They have stated the room number at the top eg 'Room 5' and said information about the paintings within the room.
On the back of the booklet they have added a map of the exhibitions where each room is and other things like the cafĂŠ.
My Booklet Design This is the front page of my booklet design. The booklet will contain a contents page, so people can easily find the page most useful to them. I will then give a brief over view of the exhibition and what it is about by explaining the title. Next, I will flow the exhibition paintings through the booklet and add room numbers and an overview of the paintings. I am also going to use the glitch as my background of the booklet.
Booklet Pages
Existing gallery spaces The National Gallery in London
This is the National Gallery In London, I like how there is benches to sit down on in the Gallery as it means you can admire the paintings comfortably. However, I found that this museum was rather old fashioned. For my gallery I would prefer something more modern.
The Tate Modern, London
I liked how the Tate Museum didn’t look so Victorian/ old fashioned. I liked the style of how it’s a massive plain building, however there are pops of colour everywhere. For example, this picture here shows a blank simple wall with bursts of colour on the wall to make information stand out.
I like how each painting is on a white wall, to me it makes the art stand out more as it's on a plain canvas, it also gives more of a modern feeling and is different to a lot of other galleries. I also like how there is statues in the middle of the gallery as it mixes all types of art.
Exhibition Floor Design After looking at some exhibition spaces I have decided to make my own. Like the Tate Modern museum, I have decided to make my exhibition space more modern, and I have given the space white walls, similar to the Tate modern museum, so the paintings will brighten up the walls and be more bold to the viewers. I have added sofas to the middle of room for people to sit down and have a chat, or to simply just to admire the paintings, I took my inspiration from the National Art Gallery for places sit down as it had benches, however I added a more modern twist onto mine by using stylish sofas. I added statues to the middle of the sofas to add another hint of art which isn't just a painting to make the space more diverse. There is also 2 green plants in each room to add some life and a unique style to the gallery. On the next slide I will display where the paintings will be on the walls.