The “Nine of Beasts of Prey” by the Master of the Playing Cards is another example of a number card, like the “Three of Birds”, and was printed from multiple copper plates. The “beasts” appear to be mostly lions and bears in varying positions. Much like the case with the birds, the Master E.S. seems to have used two of these images as inspiration for the beast featured in his own engraving. Two lions on “Nine,” the first in the lower left hand corner and the second just to its right, share staggering similarities with the beast in “King.” The Master E.S.’s lion is shown with his body in slightly propped up position off of the helmet, his tail chaotically waving in the wind behind his head, and with his mouth open and tongue exposed.
Additionally, the courtly figure of “King” is also placed centrally like the figure in “Queen”, and they are each shown draped in flowing robes and placed on a cushioned bench. Even the crown on the king’s head shares similar ornamental spires to the one that encircles the head of the Queen of Flowers.
While it is true that a considerable amount of the shading in this image is still completed using a parallel line technique like that of the Master of Playing Cards, there is also the appearance of cross hatching detail. The upper edges of the pillow that rests behind the king very distinctly reveals some cross hatching that allows for a much darker shadow, and therefore, and greater sense of depth to this impression. Cross-hatching was a technique that the Master E.S. utilized which set him apart from the Master of the Playing Cards; however, by using cross-hatching, the Master E.S. accomplishes a more modeled appearance, a visual effect that link his work back to that of the elder Master. ...
... middle of paper ...
...artha. "Manuscript Sources for the Playing-Card Master's Number Cards." The Art Bulletin 64, no. 4 (1982): 587-600. http://www.jstor.org/stable/3050270 (accessed April 13, 2014).
Wright, Harold J.L.. "Some Masters of Engraving: Lecture II: German and Netherlands Engravers (Fifteenth and Sixteenth Century)." Journal of the Royal Society of the Arts 85, no. 4529 (1939): 1079-1095. http://www.jstor.org/stable/41359422 . (accessed May 9, 2014).
Wynne, Marjorie G., and A. Hyatt Mayor. "The Art of the Playing Card." The Yale University Library Gazette 47, no. 3 (1973): 137-184. http://www.jstor.org/stable/40859489 (accessed April 14, 2014). van Buren, Anne H. , and Sheila Edmunds. "Playing Cards and Manuscripts: Some Widely Disseminated Fifteenth-Century Model Sheets." The Art Bulletin 56, no. 1 (1974): 12-30. http://www.jstor.org/stable/3049193 (accessed April 13, 2014).
You may recall that we published Games People Play which became one of the biggest nonfiction best-sellers of all time, and spawned conscious imitations (Games Children Play, Games Psychiatrists Play, Games Ministers Play, etc.).” He defends his company’s use of the line for a novel by showing that they “were merely quoting” in their ads for “Peter S. Prescott’s review of Diary of a Harlem School Teacher in Look” which begins with “Diary of a Harlem School Teacher is the real thing.” Seaver ends his reply by showing Herbert his sincere
Mrs. F. F. Prentiss Bequest (1944). Rembrandt_Hundred Guilder Plate. [ONLINE] Available at: http://www.oberlin.edu/amam/Rembrandt_HundredGuilder.htm. [Last Accessed 28 April 2014].
Jackson J. Spielvogel, Western Civilization: Volume I: To 1715, 8th Edition, (Boston: Wadsworth, Cengage Learning, 2012), 90.
Wees, P. (2003, October 1). Paul Revere Jr. (1734-1818). Retrieved from Metropolitain Museum of Art: http://www.metmuseum.org/toah/hd/rvre/hd_rvre.htm
Benjamin, Walter, and J. A. Underwood. The Work of Art in the Age of Mechanical Reproduction. London: Penguin, 2008. Print.
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
One of the most noteworthy northern European writers of the Renaissance was the Flemish painter, Jan van Eyck. Although there are few records about his early life and rise to prominence, the Van Eyck family was well regarded within the Burgundian Netherlands which allowed historians to surmise that he was born in the 1380s. After years of travelling through various northern courts and gaining esteem, Jan van Eyck painted perhaps his most famous work, The Arnolfini Double Portrait. This work has been the subject of a great deal of critical analysis as a piece of Renaissance art. Some historians have found that the work is demonstrative of artistic and social ideals that were both ahead of its time and touted the line of controversy. However, taking into account the painting’s patronage, symbolism, artistic style, and function, it becomes clear that The Arnolfini Double Portrait is an exemplar of the Renaissance era artistic conventions and is not as difficult to parse as some critics would believe. In order to discuss the painting in its entirety, it is necessary to explore the context of the painting’s creation.
A monumental staircase is the centerpiece of entrance hall and creates a barrier to a direct view of the courtyard. The stairway, although grandiose, is modeled after oversized wooden stairs with a “wealth of spindles and paneling from his earlier Shingle style houses.” The oversized arched windows on the wall facing Exeter Street, bring sunlight into this space, and have a radiant effect on the walls covered with variegated Sienna marble (especially quarried for the library). At the intermediate landing, there are two hand carved couchant lions, which are the work of Louis Saint-Gaudens. Above this stairway a spherical chandelier of bronze and cut glass hangs from the richly coffered ceiling. As you climb up the stairs towards the main landing, the paintings of Puvis De Chavannes representing poetry, philosophy, and science adorn the wall. These murals are painted
Morley, Brian. "The Illustrations of Leonardo Da Vinci." Burlington Magazine 121.918 (979): 553-562. Web. 26 May 2010.
Philip, Lotte Brand. The Ghent Altarpiece and the Art of Jan Van Eyck. Princeton, N.J.: Princeton UP, 1971. Print.
Kleiner, Fred, Gardner's Art through the Ages: A Global History, Fourteenth Edition The Middle Ages, Book B (Boston: Wadsworth, 2013), 348.
Queen Elizabeth is known as one of the most brilliant and powerful rulers of England. It is from numerous written accounts of her coming to power and being a ruler, as well as the pictures of her in her reign that allows for there to be a compelling visual of a strong leader to be placed in one’s mind when reflecting on Queen Elizabeth. As a result of being exposed to these documents and pictures anyone can see Elizabeth as a strong ruler. However, this strong visualization is not by chance, it is instead the manipulation of the art and articles to specifically communicate that Elizabeth, while being both a female and a protestant, is nonetheless a worthy ruler favored by God. With the proper use of symbolism and the knowledge of how to positively
Saunders, Pearl I. "Symbolism in Ralph Ellison's 'King of the Bingo Game,'." CLA Journal 20
The object of this book, Early Medieval Art, is to convey the theme “tradition not only receives and transforms, it literally invents a tradition upon which it founded itself” (p. 15) concerning art of the early medieval era. The purpose of this book is to summarize and offer knowledge of medieval art, that will then be included in the greater series of books by other specialists for Oxford University Press. Lawrence Nees accomplished his argument successfully by following the chronological production of the art and the traditions that are imbedded within them. Although, his thesis is strongly supported, Ness’ failure is found in his over reliance on the artwork itself, which then leads to the masking of his personal arguments.
One of the most noticeable differences that the viewer might see when comparing the two pieces of art is the color choices that the artists made. In The Card Players, the most prominent and most widely used color is brown. Although the same color is used throughout, there are different variations, or values, of brown to give the piece contrast. For example, the clothing that the subjects are wearing is significantly lighter in value than the walls of the building that surround them. Also, this value technique helps to show the shadows and illuminations that would be realistic in that particular setting. There is a shadow in the far right corner of the painting where minimal sunlight is being let in, or is being blocked by the subjects, while the bricks on the left side are lighter in value as if they are illuminated by the sun that is being let in. There is not as much value being illustrated in City Landscape as in The Card Players. There is a larger variety of colors being used instead of different values of the same color. Although, there are value chang...