Peter Paul Rubens’ masterpiece, Venus and Adonis, is not only a significant artwork of the baroque-period in Europe during the 17th century, but it also tells the mythological story that begins with love, and ends in tragedy. Displayed in the Metropolitan Museum of Art, this painting is admired for representing the unique baroque-style of this era, as well as Rubens’ particular use of the medium and how it reaches those who are viewing it. His attention to detail and crafty use of symbolism within the painting assist viewers in deciphering the story, along with the values of the time period in which Rubens was living. In studying the composition of the work and noting the historical context from which it came, one can ultimately understand Rubens’ point-of-view and thus, connect to the painting in a way he or she has never imagined.
This painting, measuring about six-by-seven feet, is a massive work that draws viewers directly to it once they enter the room in which its displayed. It is not covered by any glass and is in a very well-lit area, thus it allows viewers to stand as close as possible to see the details of how Peter Paul Rubens handled his medium. Looking at the painting from a photograph is much different than viewing it up close and in person, because when looking at a photograph, one cannot see the texture of the paint that gives the painting its very delicate, unique, and realistic quality. The work appears to be in very good condition because most of the colors are still very rich and vibrant, such as Adonis’ red garment (Rubens). Although one cannot tell when directly viewing the piece, it has been said that previous use of radiographs for further analysis on the painting uncovered that initially, “Rubens gave A...
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...ens used to handle his media. His handling of the oil paint combines both loose and tight techniques, and these techniques are apparent everywhere from the ripples of Adonis’ garment, to soft blended texture of the clouds in the sky (“Europe…”). One final aspect of the baroque-style that Rubens incorporates into his work is his use of dynamics and emphasis on action with his figures. In contrast to many Renaissance works of art, Venus “is actively, rather than passively, seductive,” as she pulls Adonis towards her (Adams 350). Adonis is also captured mid-action as he leans towards Venus, almost as if he is desiring to stay with her. The theatricality in Venus’ face is yet another aspect of the baroque-style, for it places emphasis on the emotions of the characters during their actions and allows viewers to connect to the mood of the story being told through the work.
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.
Comparing the Forgotten God of Love in Robert Bridges’ Poem EPÙÓ and Anne Stevenson’s Poem Eros
First, the size of the painting drew me in before all. It measures at 339.1 by 199.5 cm, surrounded by a large golden frame. The size alone is enough to bring in any person passing by. Once getting close, the really wonder happened. The story told by the painting
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
The first artifact that is pulled out of the Renaissance time capsule is painting called the Birth of Venus, by Sandro Botticelli, painted in 1487. The Birth of Venus was painted using Tempera paint on a canvas that is about 5ft. 9in. by 9.5 ft. This painting shows the birth of the Goddess Venus and three other Gods, and Goodness looking on. Venus is emerging from a pearlescent scallop as an adult (Fiero, 2011). The greater meaning of this painting has been pondered on by many people. During this time, people were rediscovering and studying Ancient Greeks. Their artwork reflected not only Ancient Greeks, but also the artist’s own interpretation of the Greek mythology. This painting also shows how artiest weren’t as focuses on making religious art, but started to base their artwork on other studies such as mythology.
The Birth of Venus is a beautiful Renaissance canvas masterpiece created by Sandro Botticello. The picture illustrates the birth of Venus in a very mystical way. Venus has emerged from sea on a shell which is being driven to shore by flying wind-gods. She is surrounded by beautiful roses which are painted in a truly remarkable color. As she is about to step to land, one of the Hours hands her a purple cloak. The back drop includes the sea and a forest. The overall effect of this painting are almost overwhelming, color and beauty meet the eye in every angle.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The painting was so popular, that he made its numerous versions with sightliest differences. The version presented in Metropolitan Museum, descended through the famil...
Peter Paul Rubens was an extraordinary artist, most of his pieces were made with female body’s. The female body had clothes on, but sometimes they were naked. One of his most famous artworks is Honeysuckle Bower, which symbolizes many different ideas, but mostly it symbolizes love. This informational essay is about an individual that was famous for his works of art. He is from the Renaissance period. For this essay there are four main points; life, career, contributions, and life without Peter Paul Rubens.Firstly, Which leads to the first main point, his life.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
At first glance, Prometheus catches your attention and holds onto it for a minute’s time as his body contrasts the dark background colors. As majority of the canvas is painted in dark colors, certain objects are lit in order to help symbolize their significance. The contrast of Prometheus’s body is the focal point of the painting as it catches your eye off the start where it then wonders to the white and blue drapery he lies on. The importance of the drapery allows you to view the fire that is located in the bottom left corner of the painting. Ruben’s balanced use of contrast allows for the story to come
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
Clearly, the piece is not in its original form, nor was it even twenty years after completion. However, due to the concern, care, diligence, and expertise of many art lovers, there remains at least a remnant of da Vinci’s masterpiece to be studied and enjoyed by future scholars and visitor.
The recent restoration of the famous Sistine Chapel ceiling fresco by Michelangelo has raised many questions and controversy while creating quite a stir among artists, scholars and critics. The current controversy talks about opposition concerning cleaning of paintings and four decades of debate on the value of scientific restoration. To critics and scholars, a yellow glow, a patina of old varnish, represented a quality that gave a work status. To remove this varnish even with its added layer of soot collected over decades is thought to be defiling the art. One modern opponent of restoration, E.H. Gombrich, opposes cleaning unless it becomes so dark it can no longer be seen and appreciated. In the modern debate, it has been argued that the painters of that time chose their colors taking into account how they would age . They mostly ignored the aesthetic desires of their patrons. The idea is that time mellows and sweetens the work as well. The process of restoring something of this magnitude is a very precise science. There are chemical analysis sessions that are performed by conservators who are trained in chemistry, physics, and a range of other basic sciences. Discolored coatings are removed Layer by layer. The focus is always not to do anything that is irreversible. No matter how thoughtful the criticism is, and because the project is unlikely to be halted when it is half done, undermining the confidence of the conservators is rather unfortunate. This is what some critics are saying about this increasingly heated debate. A visit to this monumental work of art is gaining a new sense of urgency these days , because critics say that a big chunk of the ceiling is being destroyed every day. People are saying that the uncovering...
A great artist, Eugene Delacroix, once said, “What moves men of genius, or rather what inspires their work, is not new ideas, but their obsession with the idea that what has already been said is still not enough.” This famous saying, highlights one of the reasons art or even a single painting is so important. Art is more than shapes and colors; art brings about so much more meaning. It expresses life, history, beauty, and morals. It shows beliefs and contributes to the many reasons that make a human being, a human. Art represents past, present, and future. An ancient painting that was made over 500 years ago could have all the meaning in the world. It shows what life was back then, how humans have evolved since, and how humans should evolve in the future. Understanding a future is the understanding the past, which is why Sandro Botticelli’s famous painting the Birth of Venus, is so important to understand.