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Symbolism of light and darkness in heart of darkness
Symbolism of light and darkness in heart of darkness
Symbolism of light and darkness in heart of darkness
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Rembrandt van Rijn’s piece Return of the Prodigal Son is seen as a depiction of a son pleading for repentance and forgiveness from his father. In the Old Testament the prodigal son is the youngest of two sons who expends all his wealth, comes home impoverished after sinning and is now pleading for mercy and liberation from his father. This painting is also a perfect representation of the homecoming of an outcasted son who has come to terms with his wrong doing and is now desperate for a second chance. Rembrandt is depicting the sense of compassion and forgiveness of a father towards his son that is seeking reconciliation with his family although he led a life of sinning. The Return of the Prodigal Son is a parable from the Old Testament that …show more content…
Doing so is also much more realistic because light is not something that is static, but is always changing depending on how the viewer is looking. This same technique can also be seen in the painting done by Caravaggio named Crucifixion of Saint Peter, which was also was done in the 17th century. Both works incorporate many dark spaces with a single light source that alludes to the sense of a divine presence. An example of this presence is visible through the father and son having a very strong source of light being casted upon them. The variation of lightness and darkness can also be seen as emotional differences in the work. Therefore the mother being shrouded in darkness is a mark of her importance in this story, which is very little so it makes sense that the amount of light casted on her is not the same as that being casted on the son. Another figure that is in darkness is the man to the right of the mother who many interpret as a tax collector of some sorts. This is another example of what is of importance in the painting, and what holds value to what is trying to be conveyed by the
Albrecht Durer-Saint Jerome in His Study: In this engraving done in 1514 Durer depicts Saint Jerome hard at work at a desk. He appears to be reading or inditing some document that is very engrossing. He does not seem to descry the lion or the canine that are near the foot of his desk. A skull is optically discerned on the left side of the engraving sitting on the window ledge facing the interior of the room. It appears as though there is an imaginary line from Saint Jerome’s head to the cross that culminates at the skull, it is believed that this designates the contrast between death and the Resurrection. The canine is a symbol of adhesion often depicted in Durer’s works, while the lion is a component of the iconography of Saint Jerome. This engraving is often grouped with two other Durer engravings that betoken the three spheres of activity apperceived in Medieval times. Durer was an accomplished engraver, painter, printmaker, mathematician, and theorist.
Original Purpose: This is a landscape painting. It appears to have a biblical meaning based its title Temptation in addition to the innocent child and the apple being the object of temptation.
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.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
The painting depicts a mother and her four children, who are all leaning on her as she looks down solemnly, her tired, despondent expression suggests she felt trapped in her roles as being a mother and a wife. The woman and her children are clearly the focal point of the artwork as the bright colours used to paint them stand out impeccably against the dull, lifeless colours of the background. This painting appears to be centred around the ideology that women are home-keepers, whose main role is to satisfy and assist her husband while simultaneously minding the children and keeping the home tidy and ready for his return. The social consequences of this artwork could have been that the woman could have been berated for not taking pleasure out of being a mother and raising her children, as a woman should. She could have been made redundant as her husband may have felt as though she is no longer useful if she couldn’t adequately adhere to her roles as a mother and a
The Renaissance in Western Europe brought a “rebirth” to the arts. No longer was the church the only accredited patron for the arts. Instead, a wealthy middle class arose as patrons and were able to purchase artist’s works. Although many pieces still had religious themes, the styles, freedom of creativity, and less reserved pieces were created. The Renaissance was not only confined to Italy, although it is often mistaken as the birthplace of the movement. All over Western Europe artwork flourished. Artists from the north came to Italy to study the classical arts and the renowned Italian Renaissance artists. Many of the same themes and subject matters were depicted throughout Western Europe. One such subject matter, the Annunciation, was portrayed by Jan van Eyck, a Flemish panel painter, as well as, Fra Angelico, an Italian fresco painter. In short, the Annunciation occurred when God sends the angel, Gabriel to deliver the message to Mary that she will give birth to his only son. Although both artists had the same understanding of the biblical account, their styles varied to agree with the concerns and interests of the people of the time as well as where they lived. They were able to establish their individuality through their artwork, even with the same subject matter. The Annunciation by Jan van Eyck is a perfect reflection of Northern Renaissance panel painting while Annunciation by Fra Angelico is the essence of Italian Renaissance fresco painting.
The Raising of the Cross is an amazing piece of art and the depth of meaning contained in it is, likely, beyond my grasp. There appear to be many symbolisms in this painting and I have surely overlooked some. The style of this painting is clearly inspired by the Baroque masters of Rubens day and Ruben took the style to a new level that the world had not seen at that time. The other pieces in the series of Ruben’s paintings based around the crucifixion of Christ help to give this painting clarity and to give hints to the figures in the paintings.
...retation of the painting some aspects were surprising to how dark and heavy hearted she could speak, she took an interesting perspective. However in her interpretative poem she found a perspective of the painting that connected with her. As she used every stroke of darkness painted into the canvas an opportunity to have it symbolize this darkness and evil that resides in the world. It told her story and her experience of a starry night. Similarly Van Gogh had used every stroke of light painted into the canvas to be a symbol of beauty, and a symbol of his fascination of the night sky and its illuminating lights. He uses swift movements of his brush to depict a sky that seem to be able to sweep the mind away from the frustrations of this world in to the dreamy night light. A single painting worth a million words tells many stories through every perspective.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
While the Flemish were proficient in oil painting, Italian Renaissance artists continued their predecessor’s use of tempera. Furthermore, the paintings were ultimately created for different purposes and separate viewers. Although both works are centered on the defining moment of the annunciation, The Merode Altarpiece incorporates this scene into a secular setting, therefore differing from Fra Angelico’s The Annunciation which was painted for a monastery. Finally, Flemish and Italian Renaissance paintings differ in levels of realism. Although the Flemish painters were skilled in portraying realism of physical forms, they lacked a full understanding of linear perspective. In contrast, the Italian Renaissance artists were well versed in linear perspective but lacked a complete grasp of the natural
For example, Masaccio used the medium fresco. It dries quickly and requires the artist to work fast with color broadly applied. This medium enables Masaccio to create generalized forms over the precise details of oil and tempura painting. However, Campin used the oil medium. This gave him the ability to create jewel-like illusions of reality. Campin and others of this era were motivated to paint the external world and all the different facets that create it. On the other hand, Masaccio wanted to create a painting that is more realistic and wanted the people to be able to relate to the art. Also, both artists use light and shadow to highlight and emphasize different parts of the paintings. For instance, Campin lit the room with sunlight and put a focus on Mary’s dress. This lighting causes the dress to turn into a shape of a star. This can symbolize the presence of the star of Bethlehem. Many other religious symbols are found in the painting. The eyes are not drawn to a particular object. This is not the case in Masaccio’s painting. He does not particularly shine light on one object. Even though the eyes are drawn to Jesus, we get a sense of balance between all the objects. This portrays faith and it’s mysteries as well as the perfection symbolism that comes with God. Masaccio creates a three dimensional like form even though it is on a two-dimensional surface. The painting shows
His father was a devout Catholic and denounced his son’s works. This painting is displayed as rising out of their troubled relationship together but it resists precise analysis. His revolt against his father is highlighted through, “But, dear Father, for what reason are you so opposed to dreams…? It would seem to me that dreams are a bastion against the regularity and familiarity of life and interrupt the perpetual earnestness of adults with a joyous children’s game.”
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
Capitalism was still prevalent which allowed for patrons to build even larger art collections. This allowed for Caravaggio to be even more selective with his subject matter and style. In the Caravaggio, Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Oil on Canvas, c. 1599-1600 the painting was not lit uniformly but in patches. The paintings details were struck by bright and intense light alternating with areas of dark shadows. The figures were disheveled and plain. There were figures counting money that ignored the presence of Jesus in the room. A far cry from the idolization of Christ in most High Renaissance paintings. Caravaggio proved to be master of oil paints similar to Jan van Eyck minute