Vermeer's Girl With A Pearl Earring

Johannes Vermeer was born on October, 31st 1632, in Delft, Netherlands, and died December, 16 1675. Jan was one of the best artists during that period of time. He, had many successes, but one painting that capture everyone’s attention was, Girl with a Pearl Earring, an 18 ¼ x 15 ¼ in. Size portrait, painted in 1655, and represented to be an oil on canvas painting. This portrait can be viewed in Mauritshuis, The Hague. The genre of this painting is a historical fiction, as in the subject it was about daily life situations, and an ordinary girl. Johannes Vermeer made this painting be a representational, because it showed is emotions, patients, and dedication. Also, it represents a woman and how this painting became to be. Girl with a Pearl Earring,

At the French Academy of Painting and Sculpture, Abraham Bosse, one of it's founders, stressed the importance of the use of geometry and even went so far as to define perspective and provide rigorous criteria for successful paintings. In the genre of ceiling painting, these standards were essential. Bosse emphasized that perspective was a first principle in any painting, and illusionistic ceiling painting would only result from following stringently to the precept of perspective. Illusionism is not a gauge of correctness, but would have to conform strictly to a perspective construction to be so designated. Bosse further defined that the application of perspective in the “anatomy” of the painting was a critical measure wherein one discovers that the vanishing point falls outside (above) the ceiling painting.

Realism, in the 1850’s, rose as a reaction to the Romanticism which, through its works, elicited a strong emotional response from the observer by allowing the artist’s creativity and imagination become more important that a compliance to traditional rules and conventions of the preceding period. (Romanticism, 2014) In an attempt to escape the emotionality of the Romantics, the Realists depicted their subject matter truthfully, without artificial embellishments and concentrated on the everyday life. (Realism, 2014) It is important, however, to mention that the Realists didn’t necessary try to replicate the depicted subject with a photographic precision as did the Naturalists. General Realists tried to create an accurate and objective illustrations of the people’s routine, and, in their own way, critiqued the established order, both the social and the political.(Neoclassicism, Romanticism, Realism, and Photography, 2014) This depiction of the ordinary and the mundane grew in popularity with the emergence of photography as the new source of visual artifacts spurred the artists’ desire to create representations that looked “real”. (Realism, 2014)

I was surrounded by many interesting works of art as I walked through the Lowes Art Museum. One painting captured my attention; it was by Juanita Guccione entitled, “Cycle: Beginning and End.” It evoked thought in me because of its complexity; images were placed within images. The colors in the piece complemented each other. As I stood there gazing at the painting, I could continually make out new images. I took a few steps forward to get a better sense of the painting’s detail. There I could see the intricacies of the colors, their combinations and the numerous brushstrokes flowing in various directions. I began to wonder how much time the artist spent on the painting and with all that time and effort, how much the painting meant to her upon its completion. Once I got home from the museum I decided to look at the picture again on the Internet. I was disappointed because I could no longer see the details as vividly as before. Seeing the picture as a small graphic takes away the essence of the painting by dulling its strong brush strokes and vibrant colors. As a whole it is still an amazing work of art that managed to keep me intrigued, even if displayed in a digital form. However, viewing the actual picture in person provides a much stronger lasting impression.

The colors Picasso used in Girl Before a Mirror play a huge part in stimulating emotion and providing balance. The natural focal point of this painting is the girl’s face. Picasso used a light yellow for her hair, a more intensely bright yellow for one half of her face, and a oval of green and white stripes surrounding her hair and head separating her from the boldly colored dazzling jewel like b...

On the other hand, anyone who draws a painting of a mountain is then considered to have imitated the first person’s work and therefore must have diminished any value that the first painting brought to the audience’s attention. Although his main argument lies in film and how small changes in effects can’t alter the underlying theme, he will still claim that painting or any visual art form can be reproduced and that this replica will only serve as a tool to undermine the original. In other words, these small distractions that are added to the reproduction will take away from understanding the artist’s point of view and

. . more fundamental concern with a physical involvement in the image. For although it was photography that taught us the modern idea of the image, it is painting that allows us to internalize it. It’s a question of [touch.] . . . The photograph may have been touched by the light of its object, but the sense of contact is entirely subsumed in the seamlessness of the photograph’s surface.”

Janet Fish is an American still life artist who works in a variety of mediums. She can be considered a realist, though by no means photorealist. However, the artistic liberties she frequently takes regarding color and light, as well as her individual style, negate this description. Her art is more full of life with these fun elements than a still life is typically considered to be. Janet Fish’s oil painting, Provence, manipulates the effects of light, the vividness and lucidity of color, and the implied texture of glass to create a sense of movement, vivacity, and unity.

John Berger notes that, ‘original paintings are silent and still in a sense that information never is’. This observation is not different in the case of Vincent Van Gogh's Cafe Terrace at Night (1888). While visiting a museum, I stumbled across this painting, one of Vincent Van Gogh’s great works. My next move was to engage with the painting, with the aim of understanding critical information in relation to its meaning, significance and importance in both the traditional and modern context (Whitney et al, 360). This is to ensure that we learn more about the eye-catching paintings hanging on the walls of museums. In addition, this approach is vital in understanding both the literal and hidden meaning of such a painting, as intended by the artist. The name of the picture speaks volumes in relation to its context and setting; it is a night scene. From a literal perspective, the picture shows a large establishment where people from the region can enjoy their coffee by night. On the other hand, the picture also focuses on the expression of an important meaning in accordance with the intention and the aim of the painter in its composition. For instance, Van Gogh focuses on expressing a beautiful event aided by the stars and the bright sky. In addition, the painting integrates bright colors to express a peaceful encounter during a bright night (Brower 200).

As Stephen becomes aware of his surroundings, his perception of art begins to change. In chapter two, the protagonist’s eager tone leads him to develop a different understanding of the qualities of art. The author makes a literary allusion to Alexander Dumas’ The Count of Monte Cr...