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.
Peter Paul Rubens, the epitome of influential educated artist of the 17th century, studied the “works of Veronese, Tintoretto, Titian and Caravaggio.” (Baroque Art n.d.) and even went through the hassle of reproducing one of Leonardo’s drawings to show that he had understood the composition and style of Italian Renaissance art. Having been raised in Belgium, Peter Paul Rubens was familiar with Flemish Traditional art which was primarily landscape and portraiture, consisted of vivid detail with reserved composition.
Peter Paul Ruben’s thorough understanding of Italian Renaissance art and Flemish Traditional art became very apparent in 1604-05 with the oil on canvas composition The Fall of Phaeton, . The Fall of Phaeton is about Helios, the Greek god that rode the chariot of the sun, who bore a boy, Phaeton, by a mortal mother. Aided by the recklessness of juvenility, Phaeton deceived his father into allowing him take the chariot. The horses at once bolted out, searing nearly anything in their way with the sun's heat because Phaeton was half mortal meaning he was too weak to control the mighty horses. As the sun tumbles across the sky, Mother Earth calls to Z...
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...ng particularly the way Rubens blends in the yellow streak of visible light while using other objects in the center of the scene. Rubens began with a thin layer of blue and a thick brush and made his painting on top of that layer additionally with thin layers with exclusion of the main objects in the center that receive a thicker coating of paint. Those objects were also painted with a much thinner brush than that of the first layer.
Rubens personified one of the most creative, skilled, and successful western artists, and his almost measureless resourcefulness of design enabled him to become a master of the finest studio establishment in Europe. As one French Romantic Artist describes Peter Paul Rubens as one who “carries one beyond the limit scarcely attained by the most eminent painters; he dominates one, he overpowers one, with all his liberty and boldness.”
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own artistic identities.
The two painters Jan Van Eyck (c.1390-1441) and Hans Memlinc (d.1494) are both considered great masters of Northern Art. Van Eyck is known for his execution of naturalistic detail and creating translucency in his panels. Memlinc is known for his financially minded cornucopia of work and for revolutionising the genre of portraiture. However, their differences are more pointed than there similarities. Both artists are mindful of the traditions of the Flemish school, such a the use of light to create a sense of the third dimension on the panel and the importance of landscape and background. Both artists worked in Bruges at some point; Van Eyck was an earlier master who moved to Bruges in 1430 until his death. Memlinc was German but settled there in 1465 until his death. The paintings by Van Eyck that shall be discussed are The Ghent Altarpiece, Madonna with Chancellor Rolin, Portrait of a Man and The Portrait of Giovanni Arnolfini and his Wife. The paintings by Memlinc that will be discussed are The Diptych of Maarten Nieuwenhove, Portrait of a Young Man Before a Landscape and The Donne Altarpiece.
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
All in all, Martin breaks down the Baroque into eight key characteristics. Through the study of these characteristics, the viewer is able to further understand the purpose of the piece. Martin, however, points out that these characteristics are not bound in gold as the rules of the Baroque. Rather, these are a general guideline which should be used lightly in order to receive a better understanding of the time. In the end, as a reader, one does receive a well rounded flavor of the different emotions and senses of the Baroque.
In Greek mythology there are many life lessons to be learned. These are life skills. Such as, always listen to your parents, and always follow the directions you are given, being kind to everyone.
Classicism of the Renaissance has been replenished during the Baroque period. During the Baroque artistic period, the exploration of the fundamental components of human nature and the realm of senses and emotions were very crucial. The Baroque era was a very dynamic time that showed an abundance of radiance and color. Artists of this time are passionate and sensual. Their works were many times considered to have an overpowering emotional effect.
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...
It has been said that no artist has ever been as well educated as Rubens. After training with three minor artists in Antwerp. Rubens set off for Italy to complete his education; a position at the court of the Duke of Mantua was quickly accepted and he stayed in Italy for eight years. His job was to travel to all the major artistic collections, especially Rome and Venice painting copies of famous works of art, especially paintings of beautiful women, for the Duke's collection. He was also sent to Spain where he had an opportunity to study the enormous collection of Titian masterworks in the Royal Collection in Madrid. Copying the masterpieces of the Italian Renaissance especially and the recently unearthed sculptures of classical antiquity, Rubens sketched and painted and encompassed all that was best in Italian and Classical art. Rubens combined the lessons of Antique Sculpture with the vaunting ambition of the High Renaissance giants in an unprecedented way. He used the plastic lessons of sculpture as a composition model but insisted that flesh should look like flesh in a painting thus developing his breakthrough approach to the naked body. In this he never forgot the earthy luminous realism of the old Netherlandish tradition of the 15th and 16th century (Van Eyck, Van Weyden, Breughel). You won't appreciate Rubens the master of the female nude until you consider that he was the greatest influence on French painting from the 18th to the 20th century: Watteau, Fragonard, Delacroix, and Renoir were his among his loyal followers.
1. Viladesau, Richard. "Counter-Reformation Theology And Art: The Example Of Rubens's Paintings Of The Passion*." Toronto Journal Of Theology 28.1 (2012): 29-42. Academic Search Complete. Web. 9 Apr. 2014.
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
The tendencies of Baroque translated differently in parts of Europe. In Italy, it reflected the return of intense piety through dense church ornamentations, complex architecture, and dynamic painting. Calabrese’s work exhibits the combined artistic stimuli of the 17th century and culminates in the acquired Caravagesque style that alters how paintings were composed from then on. Executed at the height of Calabrese’s most creative phase, St. John the Baptist Preaching is indicates the monumentality of change in urbanization as well as the return of Catholic permanence in the 1600’s. Aside from the Baroque power of the artwork, Calabrese’s St. John is a piece worth gravitating to and stands as reminder of the grandiose excesses of Baroque art.
This essay will be about Flemish Baroque painter, Peter Paul Rubens. I will explain why Paul Rubens was highly influenced and impacted by the arts in the high renaissance time. Such as the works of Raphael, Leonardo Da Vinci, Michelangelo, and Titian, and how some of these artists ' works had an immediate effect on him during his time. I will answer this question by giving vast evidence of how Paul Rubens works are different based on contextual factors, but at the same time the same and under the influence of the high Renaissance artists mentioned above.
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
Ludwig Mies van der Rohe, later addressed as Mies, was born in the German town of Aix La Chapelle. At a young age he gained fundamental experience in the craftsman’s tradition and skills, later after commissioning his first project as an independent architect, Mies “executed in the then popular traditional style of steep roofs, gables and dormer windows with precision and careful attention to detail.” Next, he had the opportunity to train under Peter Behrens, where Mies learned to appreciate order and fine detail, as well as new ideas on proportion, simplicity, and the use of steel and glass. Mies acquired a romantic language from Behrens that derived from “ his domestic architecture from Karl Friedrich Schinkel. It was characterized by a unique sense of rhythm and proportion, a purity of form, and a nobility that stemmed from the practice of placing structures on wide platforms or pedestals.” T...
One of the characteristics of the Italian Baroque is the realistic depiction of human figures, vivid use of color and foreshadowing techniques, especially in the paintings. In addition, the figures of the paintings seem to emerge from the background, giving huge differences between light and dark. The Italian baroque structure has a sense of movement and that of energy when in static form. The sculptures make the observers to have multiple viewpoints. The Baroque architecture has characteristic domes, colonnades, giving an impression of volume and void.