“In still life, it’s the same; these things had a history, a set of personal meanings; they were someone’s. The paintings seem to refer to this life of ownership, and to suggest something of the feeling attached to these things, while withholding any narrative….Their associations are long since dead, though something of the personal seems to glow here still” (Doty, 2001, pg. 29). This quote by Mark Doty in his book, “Still life with Oysters and Lemons” helps me analyze the still painting, “Still life with a gilt cup” by Willem Claesz. The first thing that I noticed about the painting was that the colors are very subtle. The painter creates an almost calming, gloomy atmosphere with the colors he has chosen. The background even though very subtle, seems to …show more content…
I noticed the accent colors of the high bronze Gilt cup and the bright yellow half peeled lemon. These caught my eye the most because it resembles a “what if “to the paining. What is the painter trying to insinuate on these two items that seem to stand out more than anything else in the picture? The paining looks as if it is awaiting someone’s arrival or the person left in a hurry. The small details in the paining such as the half peeled lemon and half nibbled at bread would impose to me that the person recently left, questions in my head ponder it such as if it was hurried or not by the way things are positioned. The right side of the table is scrunched up, the totally opposite of its neat left counterpart. The painter also shows depth which on the contrary makes me ponder the picture even more, because the plates as I noticed later, are showing shadows which could amplify that they are on the edge of the table. It can be said also without any text context that the people who owned the table were extremely wealthy. Considering the time this portrait was painted in the 17th century, it concludes to me that they were wealthier because of the plethora of oysters, fine china, and spices laid by the
They are durable and inexpensive comparing to canvas.The artwork shows the happy emotions and realism with his interpretation of his wife and himself. Color theme of the painting was blue and background/negative space is dark blue. His right side of face is dark blue to show the shadow of his face and distance perspective. He used the black line which is stained glass like to separate the negative space/positive space. He used dark blue green for negative space on the Masonite board. Texture of oil painting is rough and we can trace of the paint brush stroke. They give the vivid or liveliness that he was well known of. The figures are realistic and impressionism style rather than photogenic. The title of paining and sub title of paining itself tell the story of artwork. Esther looks very relaxed, content and happy. Rattner looks happy , passionate, proud of himself as well. He certainly looks overcame the grief of death of his first wife. This painting gives warm feeling even though the theme color is cool color blue because of two figures of face expressions and relaxed body
The central focus on the table, in the painting, is what it appears to look like a book of Sor Juana. Sor Juana Inés de la Cruz, is a huge Mexican, feminist icon. During the seventeenth century, while the Spanish still occupied mexican territory, The catholic church had a significant amount of power. Sor Juana challenged the church by being a controversial figure at the time by her being a well-educated woman, nun, and poet/writer, during a time where men were
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Pieter Claesz’s “Still life with a skull and a writing quill” is a 24.1 x 35.9cm still life oil on wood painting showing a skull with a quill as well as a turned glass roemer with reflections, an expired lamp, pen holder, inkwell, book, and folders of papers, this is one of Pieter Claesz’s earliest still life paintings, the attributes of a writer suggest that worldly efforts are eventually in vain.
The view of the painting brings to mind the all the senses. Smell is the first to come to mind as the smoke from the candle billows up, the burning smell reaches the noise as well as the burning cigar. The fruity smell overshadows that of the smell of chicken and peas. The noise of a dropped tray and the breaking of glass as it hits the floor makes everyone turn to the right. People talking over each other to be heard. All of the senses are realized as the painting is viewed.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
Jan de Heem painting, “Still Life with Lobster” is an oil painting with a bright red lobster that catches the viewer gaze into this beautiful dinner from the late 1640s.The color scheme used in this painting is analogous since it uses relatively close hues. In the painting, the lobster is on a silver platter but it has been left untouched. Surrounding the focal point of the painting is luxurious fruits including grapes, cherries, peaches, berries, oranges, and a half peeled lemon. To the left of the lobster is an overturned silver goblet. This particular style of painting is known as a vanitas form of painting. The artist is using a luxurious left over meal to show even the most expensive desires of the world doesn’t last for eternity. The
The painting is placed on a wall in a brightly lit room at a viewer’s eye level. Many aspects of Traversi’s Quarrel over a Board Game are in motion. For example, the figures’ faces display looks of either fear, anger or distress about what is happening. The man on the left, who is involved in the quarrel, is wearing a blue waistcoat and a beautiful floral patterned shirt. In his hand, he holds a sword, which appears to be pulled from his hand as opposed to being taken out of a sheath.
While Bill is looking through the art book given by Bud, we see Rembrandt’s self-portrait which symbolises the inner strength of humans and the conflicting nature of humans. The purpose of this painting being introduced in the film helps the viewer understand how the Technicolour characters in Pleasantville revolt against the old ideas of order and push forward new ideas of chaos and excitement. A newfound inner strength is found in these people, in other words. The painting itself was painted in the 17th century in the Netherlands, at the heart of the ‘Dutch Golden Age’ – a period where Dutch trade was among the most acclaimed in the world and a time where the country lived without any war. This may have foreshadowed the events to come from the conclusion of the film, where the town finally becomes free of the bounds that restrain the town from passion. In the film, Cezanne’s Still Life with Apples and Oranges is seen when Betty comes into his shop. Bill is trying to replicate the same painting himself, though with his own twist and technique. The painting itself was a major breakthrough during the French Renaissance, as it symbolised the time itself through the use of still objects. The apples and oranges in the painting are different, yet still fruits, and are placed in bowls or placed randomly around the table. Picasso’s Sleeping Woman Before Green Shutters again plays an important role in supporting Ross’s ideas of change in the film. In fact, it appears as a turning point of the film where Betty finally accepts her colour and gives an emotional impact on
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
This painting has deviated from the standard Renaissance model in that it goes beyond depicting subjects and scene, and employs exaggerated form, color emphasis, abnormal planar depiction, and visual directionality. The aspects of this painting have become the embodiment of the story told and the characters there held. The artist has used various techniques of color, line, and juxtaposition in order to portray an idea which supersedes the sum of its parts, and thereby leads the viewer through a thought.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).