A2 practical portfolio Lizleen Malihan
Intention For my personal project I am initially going to focus on artwork that depicts the passing of time. I will look how symbolism is shown within them. That will form the basis for my personal exhibition design. I will be looking into paintings created by artists from the 16th, 17th and 18th century. I will be depicting how symbolism can be put into any painting such as objects, people and sometimes even the background has special symbolism along with any small patterns from curtains do the floor designs and analysing what each of these mean.
Antonio de Pereda Allegory of Vanity 1632 Scale: 1740 x was 1395 Largeartist scale Antonio de Pereda a Spanish who began to
do history paintings before his Vanity creations. His painting he has created here means that it has hidden narratives, that allows us viewers to see what it is. In this painting, there are variety of different objects scattered around on a table. There is a woman, who looks angelic with her wings and pale skin. The wings could symbolise the angel of death, with her black wings. She is holding a small portrait of Emperor Charles V and she seems to be pointing at the centre of the globe;Looking this could reference during that closely, the that objects placed time, Charles was dead and his over vary from one dominion another but stillthe linkNew to World brought him tothe his word death.“death�. The arrangement of each object could suggest that whoever placed them is disorganised. Pereda has included a skull, creating a mysterious aura in the painting invoking the sense of death. From here onwards, the viewers eyes can see the other items including the necklaces and jewellery along with the skulls which could
Antonio de Pereda
was an artist who painted the famous vanitas painting; Allegory of Vanity. He was a Spanish painter who was not well known for his achievements in art. He was born in Spain, 1632 and died 1637. A very short lived life. Although he trained in Madrid, he painted in the Netherlands. Pereda introduced the Spanish paintings for the Flemish as he was training in the Netherlands. Whilst there he depicted object in his paintings as symbolism of death and how each object can prove that not everyone lives, everyone will eventually die. Even if not many knew of his achievements, this painting is one of the most famous artworks in the 16th century. The way he depicts each item really makes you wonder how he manages to in-cooperate the differences between them.
Charles V, Holy Roman Empire. Charles V was the ruler of the French Kingdom. He was an emperor of the war and was successful in most of his life time. Born 1337 in Vincennes January 21st and died 1380, he ruled France when they were in critical condition. This made him the most successful emperor in the French Kingdom. At a young age, Charles was made Duke of Normandy by his father and was thus entrusted with one of the most vulnerable areas within the French domain. Whilst he took control, his father has ruined a fair amount of his work; at his fathers dying breath, he was entrusted as to be the new King of France. He was a young King, but having experience in being a regent granted him the throne and prepared himself to take on his first great task; which was to restore the horrible doing of his fathers and grandfathers doing. Even so, despite being ill and having a poor health, he did not give in to the throne and continued to reign. The picture above shows that he was proud of his achievements and many did support him. Linking back to the symbolism, the illness he has occurred shows
The candlestick that Pereda has included is burnt out symbolises that everyone will die at some point in their life. No matter the situation, you will die and the candlestick symbolises this really well. Lso the candle tsick has not burned down far‌suggests early death can happen The hollow base of the candlestick could also mean that once you have died, you become hollow and you become nothing. At this point, time is essential in life. Pereda shows this extremely well with the clocktower and the hourglass. These symbolise that we don’t have much time in life, and that we should do whatever we can. Pereda portrays this so well with the objects he has painted, from the skull to the clocktower and hourglass. Next to the hourglass is a gun, this could symbolise that one pull from the trigger can end a life. This could also mean that war is another
The colours in the painting all are simple and one coloured close to each other. The shadings and lighting of the colours all are similar to one another and are either golden or white. This could symbolise that all the items are the same value, even if different meanings. The economic and well being of Spain during this time period, it may have made Pereda create such meaningful objects and was able to use the powerful meaning of “Vanitas�. The colours are a huge contrast compared to the meanings of the objects; for the skull, it’s white and a hint of brown, and this could be a representation of society back in Spain. The candle which represents the fast ending life of the human kind whilst the skull itself symbolises death straight and forward, literal meaning of death.
Pereda has not once included lighting or any kind of shining light to the painting. It is all pitched black, even the wings themselves are black and the colour represents death. The black and dark colours of the background and some foreground depicts that death is all over this painting. The hidden meaning of each object is death, and
The theme of death seen previously on the Perada painting is seen more explicitly in this next painting.
Rembrandt, The Anatomy Lesson of Dr Tulp, 1632.
Context of Anatomy and analysing another Vanity Painting.
Anatomy is a type of experimentation for the human kind. As humans, we have different parts to ourselves but we all have tissues and cells. Anatomy helps doctors and most surgeons to do their job, as they need to know what they need to operate on and what shouldn’t be touched. In the 21 st century doctors and surgeons have all the high tech equipment they need in order to carry out operations on humans. However, back in the 16th century, they did not have high tech equipment as we do now. Below is a painting created in 1632 by Rembrandt, showing several people operating on a man. Rembrandt painted this group portrait of seven surgeons and the
Rembrandt, The Anatomy Lesson of Dr
physician Nicolaes Tulp in 1632. In this astounding painting, the man with the black hat, who is at the centre of the painting is Dr Tulp, giving an anatomy lesson. This painting was one of the many series that were painting by Rembrandt for the Guild of Surgeons. Rembrandt made sure Dr Tulp was in the centre of the painting, giving the viewer their full attention to him only. The lighting is clearly directed at Tulp, who is holding a dissecting knife or clip. The background contains a lot of Chiaroscuro, with it’s light tones in the middle and outside is surrounding blackness. Furthermore, every surgeon needed to attend the lesson at all costs to greatly understand more about anatomy and how the human body operates. Every year a public dissection is shown to viewers who want to learn about anatomy and Dr. Tulp
Rembrandt (1606-1669)
is an artist who was known for his Anatomy paintings. His life wasn’t at all eventful, but he was known for the little things like developing his own style of painting. At a young age, he attended a local University in Leiden in 1620. During this time, he left the University and started an apprenticeship to the now-obscure but then relatively important local artist Jacob Isaacs (1572-1639). Even though it was only a short time, he managed to learn a lot of techniques when on the apprenticeship; he has created approaching one hundred-self portraits of different colours and angles and lighting, over 40 paintings and 31 etchings that included his face. There were also an extra 7 drawings, not many know what drawings they were of as they were uncertain if it was even portraits. Was it the definition of the painting or just for display?
These are some of the paintings he has created during his time. Most of them were in oil paint on canvas and they are all sophisticated and painted accurately.
In this section, it looks as though Rembrandt captured the men at a specific instant in time, but in fact the painting is a careful and very well thought out composition. In the 16th century, they used to operate on humans who are criminals, in this case the man in the painting is called Adriaen het Kint.
As you can see from the bottom right corner of the painting, there is a book open, and few men are looking at it. It’s most In this part of the painting, Tulp is seen telling the other likely a guide as how surgeons this is how you take apart and arm and by to dissect and operate dissecting it, you can tell each part of the arm muscles and on a human. bones and how it’s all attached together to make the arm. The quality of the painting is brilliant as it shows an eerie feeling with the muscles showing along with the bones.
Andreas Vesalius (1514-1546)
is known as one of the most influential anatomy artist in the 16th Century. He has created many books that involves anatomy and the joints of the body. The book in the Rembrandt painting is actually one of his books ,”The Book of Anatomy”. At the corner of the painting, towards the middle has a book that belonged to Vesalius. He was famous even after death and all of his books have been used for several surgeries and operations. During these times, it was difficult to actually do any thing without proper tools and equipment that were super high tech. This is relating to the Vanitas part of the presentation; one small mistake can cause death. However, whilst Dr Tulp was doing this on a criminal, who is now dead, it still shows that if you cut one vital part of the body and it is wrong, then they could die in an instant and this is why you must be careful with time and life and how you do it.
The book itself depicts a vanitas meaning as well. A book is very fragile but contains a lot of information. It is one of the most useful objects that were used in the 15th century. As there was no technology in this time, Vesalius has created a book that included all the operations and surgeries that he knew off to help other doctors and surgeons to carry operations. However, this wasn’t the only book but it held meaning to Dr Tulp. Furthermore to this, books are fragile but hold everything; and this is why it’s a vanitas symbol: one rip of the page starts the end of someone’s life, as the pages are continuously turned, even carefully, it’ll soon decay if you don’t use it
Anatomy of Ruysch is a very unique and different way of approaching anatomy. This was created by Rembrandt, and as seen there are several bodies and skeletons of young kids and babies. Rembrandt wanted to explore what it was inside an infants body which means experimenting on a child. In the 16th century, no one really knew what made a child a child. Of course there was bones, but no one really knew how their organs functioned or if they functioned differently to adult organs. Rembrandt has experimented on several children and in the below picture of Rembrandt and other doctors are seen experimenting on a baby. On the right hand side, a child is holding a babies skeleton whilst intrigued by what they’re doing. In the drawing as well, there is also several types of organs and body parts that look like kidneys or hearts. There also seems to be a tube and brains scattered around a child who stands at the top. Linking back to the vanitas symbolism, there are skulls scattered around the drawing, all on a skeleton. The depiction of children's death whilst experimenting shows that adults don’t really hold back and they are trying to find out what makes an infant and infant. Today, in the present, there would be people against experimenting
History of the Dutch Golden Age period and Paintings. The painting of Dr Tulps lessons was typical of art from this time period‌..16th Century Holland is a period in which Dutch trade, science, and art are among the most advanced in the world; The Dutch are using scientific discoveries to inform and influence their art too and with this, the subject matter for art becomes fresh, new, and more varied than in most European countries. Artwork is created on a smaller, more intimate scale, to be displayed in people’s homes not in churches. In this time and period, there was the Golden Age. In this age, 5 million paintings were produced in the 16th-17th century in Holland and only the most richest were able to commission different paintings from different artists. However, the Church did not act as patrons as they preferred white washed walls like this painting; Interior of the Church of St Odulphus created by Pieter Saenredam in 1649, 50 x 76 cm in scale. (a very small painting for a Golden Age). In this new Dutch age people would want smaller scale
The previous Dutch painting showed actual anatomy, however during this time artists used symbolism to represent death and religion. This can be seen in this painting‌
Harmen Steenwyck, An Allegory of the Vanities of Human Life. 1640, Oil on Wood
Harmen Steenwyck (1612-1656)
became one of the most famous still life painters of his time (16 th century). He specializes in the genre of vanitas still life objects during the early years of the Dutch still life era. Most of his paintings include some symbolism that is relating to death. Along the line of some of the top still life artists, he is side by side with his uncle, David Bailly (15841657). He is best known for his masterpiece "An Allegory of the Vanities of Human Life�. All of his paintings are always Vanitas related, giving symbolism to objects that wouldn’t have meaning if you just looked at them. Majority of his paintings, there is always a skull, representing death and it sticks out to the viewers eyes. Steenwyck and his brother Pieter were sons of Evert Steenwyck - a spectacle and lens maker in Delft. They followed their Uncles way of painting Vanitas symbols (David Bailly) who was one of the most famous painters in their period. During 1636, he has travelled across the world gathering pupils to teach them all about Vanitas symbols, objects and paintings. By the time he came back, he was already known as the leading exponent after his Uncle, who died in 1657. He worked in a radiant and exceptionally realistic manner, mainly painting intricately detailed flowers, fruits and other still life that illustrated the vanitas theme.
Harmen Steenwyck, An Allergory of the Vanities of Human Life. 1640, Oil on Wood Scale: 39 isx also 51 cm. This painting called Small “Vanitas”scale for short. It translates
The purpose of the Vanitas in this painting is that we are meant to reflect on the inevitability of death, the futility of worldly ambitions especially accumulating riches, knowledge, power.
to “Hidden meanings”. In the painting, a lot of things are happening; the whole painting depicts death. Each item symbolises death, the end of life for each human. The lighting is coming from the top left corner of the painting, illuminating the skull at the centre of the painting. The background is dark and dull, to show that death is all around in this painting. The light can also symbolise that you are going to heaven, after your death. The skull in the painting is the centre of attention as its closer to death than the other objects in the painting. Furthermore, Steenwyck has chosen to paint the skull bigger than most because it depicts death; “Memento Mori” is Latin for a reminder to the human rice that death is near. Death is a great leveller, that puts all achievements down.
The shell that is show here is empty, this symbolises that once dead, we are hollow like this shell and there is nothing to us. The shell itself is shiny, which could relate to the luxury life before death, and now they are just an empty shiny shell.
If you look closely behind the skull there is a sword. The sword itself symbolises the death of someone by easily sheathing the sword. It can be used to cut down someone who is not wanted by someone or enemies and with one swing they are easily cut down and die, in a matter of seconds with all the blood loss. This book towards the corner of the painting looks like it’s been read but got left. This symbolises the fact that the person who opened it, wanted to explore the outside world more before dying to his death. However, the book itself looks fresh and new, The hand clock on the meaning that the person who table next to the flute opened it left it too late to explore really symbolises the the world and died. vanitas theme; usually The brown object that is above the time means you don’t sword is actually an instrument. have your whole life to do The instrument symbolises the something you want to do. luxury in life, the music in life and Time is ticking and if you how everything is harmonious, don’t do anything, you will until a sting is broken; that’s when go into your death without everything goes down hill and life doing what you want. Time changes before their eyes. is crucial in life, as it could mean that whatever you’re doing, you can easily run out of time.
The shell that is show here is empty, this symbolises that once dead, we are hollow like this shell and there is nothing to us. The shell itself is shiny, which could relate to the luxury life before death, and now they are just an empty shiny shell.
Willem Claesz Heda Still life with Food Drink 1631 Oil on Canvas
Willem Claesz Heda Still life with Food an Drink 1631 Oil on Canvas Willem Heda was a Dutch artist who painted still Scale:Claesz small
life paintings of objects. In this painting, the objects are neatly placed in places as if they belong to that specific spot. Each object has its own meanings and small narratives behind them but they all link to the same meaning “death”. Heda was an artist who created paintings that create hidden meanings. The lighting and tones unify the work all together, harmonizing and making a complete picture. Heda had a unique style of painting, he wanted in all in his paintings, unlikeobjects. other The lemon in this painting has texture a big meaning compared to the other Dutch artists (they haverepresents texture but Heda The depths and symbolism of the lemon usnot on as ourmuch daily as life. The lemon symbolises has). the transient of life; when you peel the lemon, it decays and rots like how your skin would slowly when you die. The appearance of the lemon is deceiving because when you look at it, it looks sweet like an orange and the texture is smooth like the fruit. However, when you peel the lemon and taste it, it’s sour. It deceives us just like how life deceives us at times. th The lemon peel is These types of symbols have been lost on us, however during the 17 century This here is a chronometer. This can symbolise dangling, this could people would instantly know what the lemon represents. that time is running out and that we don’t have symbolise danger. much time, and therefore sooner or later we’re all
In the screenshot here, it is a wine glass filled with white wine. There is a bubble in the middle which could symbolise that one pop of the bubble, it’s someone's life gone. The wine itself has a hidden meaning; the same as the lemon transient of pleasure with the wine. At one point it’s going to go as soon as you finish it, and you will be filled with pleasure before you die. In this point in time, Heda is very good when it comes to depicting different objects. As with the pie, it is partially eaten which could indicate that the pleasurable life is gone, someone has eaten it and ruined the perfect mince pie. The mince pie back in the days are all expensive so whoever had this pie, has had a rich life and now it has ended as the pie starts to decay away. The foreshortening and overlapping of objects ties them together in a very subtle way, that makes the viewer think what is happening and what the meaning behind it is. Furthermore, the colours in the background are simple and plain; softly illuminated. Heda wants to make the objects stand out, so the viewer can see what each object means. This kind of still life work is
Hendrick Adriessen Still life with Mask 1607-1655 Oil on Canvas 48 x 43was cma Flemish Baroque still life painter. Hendrick
Flemish is used for artists in the 17th Century, modernising the formality between people. One of his known works is an oil on canvas, also known as “Vanitas Quiet Life”, which is believed to be a reference to the death of King Charles I by decapitation. It’s shown with the skull, a crown and a sceptre and other related objects topainted his death. Hendrick this piece of work as he want was interested in playing with the light and dark tones of the painting. The lighting however in the painting is coming from the top left hand, where the bubbles are heading towards. On the right hand side though, it’s a lot darker and is pitch black towards the bottom. This painting screams out plenty of reasons relating to the Vanitas (Memento Mori as it both means death or ending of a life). Each item has a reason why its there. Like the globe, its there to show that before your death, you could travel the world and learn different cultures and different living life style. The light smoke of the tobacco shows that life is slowly fading out, there is no more flames. Furthermore, the bubbles themselves resemble life; it’s perfect and round but one touch it can pop any moment, causing the downhill in life.
It’s small but you can see that there is a hand clock, which could symbolise that time is slowly ticking away; we will all experience death at some point in our life. The Write about his other works
flowers on the right hand side are transient, withering slowly like how life will slowly fade away into nothingness.
All in all, this painting existed for a reason, not just their light and dark tones. Back in the 18th century (first half), middle classes expanded and buying paintings was no longer an activity reserved for the nobility. Similar subjects of daily life like this were as popular and mythological paintings were previously, especially in public exhibitions like the French Salon.
A skull, roses, a carnation and other flowers, pipes, an oil lamp and a bubble in a stone niche. In one of his other works, he continues to paint with Vanitas objects and creates meaning behind them each time. With this painting, he is able to convey his opinions on Death. Focusing on the skull, it’s showing that people will eventually die and their bodies will decay and all is left is bones. The placing of the skull looks like it’s on a shelf, perhaps being worshipped and respecting the death of the person. Adriessen included these dying flowers to symbolise the ending of a life. The flower is a Carnation and alongside it other types of flowers. Carnations have several meanings: symbolism, mythology and debate. In Greek ceremonial crowns, others propose that it's derived from the Latin word "carnis" (flesh) referring to the flower's original pinkish-hued colour. With this, the dying carnation could symbolise that the flesh will
In this part of the painting, there is a fire on a stand and it’s slowly dying, with the carnation next to it. This depicts that along with the carnation, they’re going to both die out soon. The fire is still brightly lit but the height of the flame is slowly growing shorter, showing that life is short and you have to do everything before you die. Below the flame, there seems to be flutes; which could suggest that the death of the person enjoyed music but has come to end his life with the flame slowly dying out.
The single bubble that is floating in the air indicates how fragile life is. The bubble will pop any minute if you are not careful with how you live your life. The bubble is positioned near the flame of the fire and this indicates that it will pop before it could live to it’s fullest. It could also mean that once the bubble is up in the air, the smoke of the fire could pop it but as long as the bubble rose up into the air, it has fulfilled it’s duty and will eventually die along with the carnation, skull and fire that is placed upon the crevices of an arced window.
The Ambassadors, Hans Holbien 1533 Oil on oak, Large Scale: 207 x 209 Hans Holbien was a famous painter in the 17th century. He was a natural born German Artist and was known as one of the most talented portrait artist in the world. Whilst he painted, he worked for Henry VIII. He painted “The Ambassadors” in Oil on Oak (very famous in the Renaissance period), from the request of Henry VIII himself. He has done various of paintings and sculptors but his portraiture skills made him known in England during the 14th Century – 15th century. “The Ambassadors” is lifesized double-portrait of the wealthy landowner Jean de Dinteville (1504–55), ambassador of the King of France. The guy in the black standing next to Denteville is Georges de Selve, Bishop of Lavaur (1508–41). The objects within the painting all have hidden meanings and each one is all related to death in some way. The skull at the bottom of the painting is when seen from these angles, this anamorphic image is immediately recognizable as a human skull - the age-old reminder of death and the
De Selve was a priest and close friends with Henry VIII. This particular painting was commissioned by Jean de Dinteville, the young ambassador. The two men were on a tricky and ultimately unsuccessful diplomatic mission to heal the rift between Henry VIII and the Church of Rome (hence the name Ambassadors) to commemorate the visit to London of his friend de Selve - who, incidentally, is not wearing episcopal robes because he was not actually consecrated until the following year. Initially, the painting itself could mean that now matter how rich you are, you cannot escape death and you will die eventually. This man was born in 1508 and was from a wealthy family in France. (A French In this Pope). screenshot, De Dinteville is dressed in luxurious secular clothes - a meticulously rendered heavy black coat lined with lynx-fur, over a pink silk tunic. This symbolises that he is living the luxury and wealthy life. Above this screenshot, is De Selve. His outfit is less flashy and more dull than De Dinteville. His posture is less assertive and its not as open as Dinteville and this could depict that he is just another normal person to Dinteville (like a colleague). If you look close enough, Dinteville's secular roots and de Selve's clerical roots as symbolizing the dysfunctional nature of the alliance between France and the Vatican, as well as the general conflict between the Church (pope) and State (Henry VIII).
The lute and the flute resemble similar depiction. The flute is from another Vanitas painting “Still life with Food”. The loot has a broken string if you look closely, and this could symbolise that there is conflict between Rome and England, reinforcing the fact that they don’t get along and could into a war. The flute on the table itself looks un-used and its just there, useless as if it’s already dead. This could symbolise that either England or Rome has fallen. The curtain has a dark emerald green hue with sophisticated patterns, the heraldic-style. The globe resembles the amount of times that maybe Dentiville has travelled around the world, he is living his life before he eventually dies just like any other human being.
The flooring is created in Mosiac style pattern, showing that England is wealthy. Tucked away in the top-left corner is a crucifix - a clear symbol that faith in Jesus Christ helps us to escape death and secure everlasting salvation. So not all hope is lost when you die.
Intention for my next project I am now going to specialise in Chiaroscuro, which means dark and light in one in a painting. I will focus on how light and dark tones are in paintings and how they give the painting depth. I have chosen to do Chiaroscuro because the range of light and dark tones within a painting depicts what the painting is saying. In some paintings, artists use Chiaroscuro tell a story, and by looking at the lighting and toning you can tell what the painting is depicting; is it loneliness? Death? Life? Depending if the tone is darker or the light is brighter, it has meaning in all.
Chiaroscuro Chiaroscuro is a type of painting technique that involves painting with light and shade. Majority of paintings always have chiaroscuro in them at times some only have light tones whilst others the darker tones dominate the whole painting. It’s an Italian origin and was found in the 17 th century. Chiaro at the beginning means light, clear and bright whilst Scuro means dark, obscure and black. When you join the two together, it creates a meaning of dark and light tones within a painting. Starting with the light, it creates contrast within a dark shadow of a painting and throws detail to emphasize the subject matter.
Light and Tone Strong lighting creates contrast between the painting and the figures in the painting. In some paintings, the light is usually on the side and this is what we call “Side lighting�. Artists use this for mainly portraits to create a realistic look. The artist can show full tonal range with kind of technique as it defines shapes and tones of the faces and make them look realistically solid. Occasionally in some paintings, the light is coming from the windows creating a shadow below the portrait to create the dark tones, creating a contrast between the two. The light and tones usually revolve in the European Union, but in some cases the Chinese use light and dark in a different way than the Europeans do. They have flat solid colours with a solid white and a solid black. The tones within a Chinese painting is one shade: black. They purposely do this to show the contrast within the painting or artwork that has been created.
The Arnolfini Portrait 1434 Jan Van Eyck 1930 Oil painting on Oak 82 x 60 cm
Jan Van Eyck (1390)
is a portrait artist that uses oil paint on oak to create his works. The painting “The Arnolfini Portrait” is actually a painting of him and his late wife who died, but drew them together. His works sometimes related to religious views and he was an important artist in his time. He’s Flemish and started his painting career in the Netherlands pursuing his career. There is a common misconception, which dates back to the sixteenth-century Vite of the Tuscan artist and biographer Giorgio Vasari, that Jan van Eyck invented oil painting. It is however true that he achieved, or perfected, new and remarkable effects using this technique. From the fifteenth century onward, commentators have expressed their awe and astonishment at his ability to mimic reality and, in particular, to re-create the effects of light on different surfaces, from dull reflections on opaque surfaces to luminous, shifting highlights on metal or glass. The use of glass and mirrors were really helpful as it allows the artists from his time period to experience different lenses. The portrait shown on the left is off himself, he painted his own self portrait.
In the painting, a lot of things are happening; the woman's dress has realistic creases, with dark green tones to create the depth of a 3D image, making it look real. The lighting is coming from two different directions: one from the window on the mans left side and towards the flooring where there is a light area. The woman herself is illuminated by the light, this could mean that she’s pure and innocent. It also looks like she is pregnant but it could just be her dress being puffy. The man looks like he is blessing the woman, whilst holding her hand. A dog is seen below the two people, this indicates that they’re wealthy and having a dog means “loyalty”. The figures are set in a bedroom, where it’s elegantly decorated. In the background, you can see a mirror, and a reflection of the two people in the painting. Looking behind the man, you can see oranges which could indicate that they’re rich as in Burges, Oranges The back of the wall writing above where were expensive and hard to obtain. There’s a has chandelier Van Eyck wrote “Johannes de eyck fiur them only has one candle lit. hir” meaning “Jon Van Eyck was here”, as a signature for his painting. In this close up, they’re overlapping each others hand, you can see the tones of their shadows overlapping and the slight difference in tone highlights the tenderness that is
Here you can see two other figures in the reflection of the mirror, so overall there are actually 4 maybe 5 (including the dog) people in the painting itself. The design of the mirror looks sophisticated and royalty like, making it seem they’re rich. It’s a convex mirror, so you can fully see what the reflections are. The tones on the outside of the mirror are darker and more intense than the inside area (creating the shadow of the mirror hanging from the wall).
Over here, we have the chandelier from the painting. One candle is lit, bright and alive whilst one candle is burn out, not alive as the one candle. This can symbolise that one of the people, who could possibly be Giovanni Arnolfini, is alive and his wife's after death, Constanza. The shadings and tones of the chandelier vary in different shades; as you go further to the top of the base, it gets darker and more golden than the bottom area. The spikes sticking out from the base gradually gets lighter in tone, and a more copper colour is now showing. The background in general has that hue of dark and slowly blending in with the light area of the copper brown. These realistic details are typical of Northern Renaissance work.
Looking closer at the painting, and especially the dress of Constanza, we can see that it is completed in a way where from afar, you think it’s a Photograph instead of a painting. The emerald green dress has tones varying in different tones of green; at the bottom of the dress, there are creases and Eyck has painted the creases a darker shade of green. As you go up to her waist, he’s done more creases from where she is holding her dress, this includes more depth in tone and a darker emerald green appears. On the other hand, the fabric on her head contrasts with her dress; pure white and little shadow to it. This On the other hand, wearing towards a darker her toneand of is because theArnolfini light isis shining clothes; a deep indigo, outlining his pale skin. His hat has illuminating the figure. hardly any tone, it’s just pitch black with a hint of white from where the light is hitting it towards the side. His shoes blend in with his shadows. The tonal modelling in this painting creates realistic three dimensional forms. This type of modelling is almost chiaroscuro. Chiaroscuro is a type of technique that creates tonal paintings and creates depth within a painting. Furthermore. I will now be looking into more extreme Chiaroscuro from different artists. The dog has shades of brown and caramel fur, and the dog represents loyalty. When you look closer you can see Van Eyck's individual brushstrokes.
Still Life painting
Flowers on a Table with Fruits 1865 Henri-Fatin Latour 18361904
Henri-Fatin Latour (1836-1904) is a French Artist specialising in still life paintings mainly flowers and fruits. He is also a lithographer and is best known for his luxurious flower pieces. One of the paintings I was analysing included flowers and fruits as the main focus. He has been in many art periods including Realism, Modern art and the most important part, Symbolism. Latour was talented in both still life and portraits; he has done some other works including historical documents of famous politicians in a group. He was close friends with some of the most famous artists such as; Delacroix, Baudelaire, Manet and Whistler. They all have something in common and that is they can all paint still life. At one point, they all painted a group portrait of them to celebrate the contemporary painters. His still life paintings were exhibited at the Salon from 1866 and onwards.
In modern art simple still life arrangements have often been used as a relatively neutral basis for formal experiment, for example by Paul Cezanne, the cubist painters and, later in the twentieth century, by Patrick Caulfield with his weird and solid colours on photoshop.
In the 17th Century, still life was ranked low in the painting industry. As it is only objects, no one would think it’s unique talent. However, the French Academy in France accepted it either way. Portraits were most famous back in the 17th century and was most looked at instead of still life paintings.
Still life paintings were famous in the 16th, 17th and 18th century. Still life always consists of basic objects composed in different ways; fruits, instruments, vases, cutlery etc are placed on a table or on the floor to create a visual outlook. Painters would usually paint with acrylic and oil pain on canvas and some on wood. Artists would accurately trace out the objects and where they are positioned before going in with paint. In this painting I have been analysing, Fatin Latour used oil paint to create depth and texture to the background, along with the fruits itself. The basket that is seen on the right hand side of the screen contrasts with the bright yellow tones of the pare, that is next to it. Latour used every shading with oil paint and light to gain a textured painting. The viewers eyes would go straight to the bright yellow pares and the fluffy peaches first, as they are brightly painted in
These flowers are bright and there is hardly any tones. The background is dark and it contrasts with the white and this makes the painting stick out more. The bundle of grapes that have been spilled out onto the table depicts a symbolism that things in life will fall from time to time. The dark green in the basket brings out the grapes lighter round tones, contrasting the two different colours. The leaf that is sticking out from the grapes are withered and looks dead, making the scene look more gloomy yet alive, as thespecific grapes arepainting still there ripe. This was created in
the Realism period, 1835. Within this period, everything was realistic and 3D. Painted the real world, truth to nature and the imperfections which goes against the traditional academic salon.the sweetness in life, and that when cut it The peaches on the table resemble open, it gives you a sweet smell as if you’re just starting your life anew. The dark crimson shade above the peach itself creates a 3D effect, making it seem like the light is only coming from the side where the bright yellow beige tone is shining and reflecting a light. The colours harmonize with one another blending beautifully. By a glance, it seems like you can touch it and you could feel the soft fuzzy surface of the peach.
The death and the darkness links back to Chiaroscuro
The Third of May 1808 (Execution of the Defenders of Madrid 1814 Francisco Goya (1746-1828) Oil on Canvas
Francisco Goya
is an artist that focuses on real life crisis just like the Madrid attack in Spain. Goya was an astute observer of the world around him, and his art responded directly to the tumultuous events of his day, from the liberations of the Enlightenment, to the suppressions of the Inquisition, to the horrors of war following the Napoleonic invasion. Both for its inventiveness and its political engagement, Goya's art had an enormous impact on later modern artists. Goya leveraged this experience to grow his connections within the Spanish court. At the same time he also began to work on a set of etchings after paintings by Velåzquez in the royal collection. Goya would become a master of printmaking, which came to serve as the primary means by which he expressed his most personal feelings about the social and political events of his day. As above, most of his works are all political based and that’s what makes his artwork important and special as he is the one who is letting the world know what is happening in the Spanish Embassy.
The Third of May 1808 (known as Execution of the Defenders of Madrid) is an art work painted by Goya in 1814. He witnessed this in 1808 but could not paint it until the 1814. If you look at the painting, a lot of blood and dead bodies on the ground. This could probably be because the people were going against the Spanish Royalty, and was executed by being shot. The man is wearing white, showing his innocence and purity. His hands are up, and if you look closely at his hands, there are red marks, which also could stand for a stigmata, like how Jesus has the cross to represent his stigmata. Goya thinks that the rebels in the pictures will resurrect like Jesus does, and will rise again to rebel against the Spanish Royalty. In the painting, there are a variety of Chiaroscuro happening; the man in the centre with his hands up is in the
In these two close up shots of the painting, you can see they’re all covering their eyes and ears; so that they won’t be able to hear the gun shots resonating in the dark night air. They’re body gesture tells them everything about how they’re feeling. The shadows on their clothes clearly show that they’re going to die soon. The black outfit that the man is wearing on the left is pure black, not in between.
In this painting, he was instructed to paint Charles IV family in 1800. Due to King Charles IV weakness and wimpy personality, Spain fell into political and social corruption, leading Napoleon to invade Spain and take over. Goya’s skills are excellent; he managed to capture the tiniest details of the clothing and beading. If you look closely, in the background towards the left corner, Goya painted himself in the painting, to The use of Chiaroscuro in this acknowledge his presence. painting is big; the shadows below the figures create that realistic and haunting feeling. While it’s dark towards the floor, the figures in the painting are all pale blues and whites with hue of gold. King Charles IV is wearing a dark outfit,
The gunners are targeting the rebels, but they have their backs to us, showing the fact that they’re only concentrated on the rebels and killing them all off. The lantern is shining towards the rebels in the night, highlighting their rebellious behaviour. Their clothes are a deep dirty brown and no whites.
At this point in time, Goya was 62 years old when Napoleonic invasion of Spain started, and Spain was subjected to six years of war and revolution. Goya was in Madrid when the tragedy of 2nd and 3rd of May happened. As I’ve said in previous slides, it was in 1814 that Goya was able to paint these paintings. This painting was also painted on a large scale, to show its historical context and monumental size.
He was instructed to not paint these whilst it was happening because of the new rulers of Spain. The painting itself is a confusion to the French and Spanish people; The Confusion of Battle. The lighting and shadows are all mixed up into one another, there isn’t a specific space where the light or dark area resides in. There are a lot of grey scale for the