Art History Essay

Jose De Ribera, Martydom of beau paperl Bartholomew, ca. 1639. rock oil on weather sheet * Ribera spends this piece to scorn idealization of any kind. * The drama and brutality expresses the gravelly times of the Counter-Reformation. * We notice Caravaggios influence on Ribera through the naturalism and drama used in Martydom of paragon Bartholomew and Caravaggios many drop deads.Francisco De Zurbaran, Saint Serapion, 1628. anoint on canvas* Serapion was a British diseased person who was supposed to fight the Moors in Spain, who ended up being butchered in Algeria. * What makes this piece different is a complete lack of violence. There is no blood or any sign of a wound, as we can see his white robe is spotless. * Unlike most martyr paintings that make the subject calculate heroic and brave, Zurbaran captures the true helplessness of the saint, winning the viewers emotions.Diego Velazquez, Water Carrier of Seville, ca. 1619. Oil on canvas * This piece captures the social i ssue of the rich and poor of Spain during the time. * The contrast of dark and light shows elements of Caravaggio, who Velaquez had studied. * Although this fit shows everyday life, the care it conveys suggests a deeper meaning.Diego Velazquez, Surrender of Breda, 1634-1635. Oil on canvas * Velazquez aided Philip IV in regaining power by using Surrender of Breda as propaganda. * This piece was not only a symbol of Spanish nationalism, but a tribute to Ambrogio Spinola, the Spanish general of this war. * Velazquezs relationship with Spinola do Surrender of Breda especially historically accurate.Diego Velazquez, King Philip IV of Spain (Fraga Philip), 1644. Oil on canvas * Velazquez portrays Philip as a military leader by focusing attention on his marvelous red and silver scarper dress. * The painting is also known as Fraga Philip, because it was painted in the town of Fraga in Aragon. * This portrait was right an other(a) example of Velazquezs propagandistic images used for King Philip IV.Diego Velazquez, Las Meninas, 1656. Oil on canvas* The use of depth and content in this piece helped prove Las Meninas as Velazquezs masterpiece. * The mirror on the tooshie wall seems to be the reflection of the king and queen, meaning they are being painted on the other side of the room. * Velazquez actually painted himself as the artist in the room.Peter Paul Rubens, Elevation of the Cross, 1610. Oil on panel * Rubens used elements both from the Renaissance and of the Italian Baroque to create the first Pan-European style, as seen in Elevation of the Cross. * The tension is emotional and physical, as seen in Christs face and the sorrow of his followers. * The drama is intensified by the strong use of light and dark.Peter Paul Rubens, drawing of Laocoon, ca. 1600-1608. written language chalk drawing with bistre wash * The predominantly black chalk drawing shows Rubens study of neoclassic representation of the human form. * This piece is obviously a revisit of the mar ble sculpture that depicted Laocoon and his sons recess free from serpents. * Rubens had a big focus on mastering the human body, which led him to copy classic works of earlier master artists, such as this piece.Peter Paul Rubens, Arrival of Marie de Medici at Marseilles, 1622-1625. Oil on canvas * The painting depicts Marie arriving in France after a long voyage from Italy. * The women waiting for her is an fiction personified to represent France, and the goddesses, Neptune and the Nereids (daughters of the sea god Nereus), represent the sky and the sea rejoicing her safe arrival. * The surfaces are enriched with ornamentation to further bring the painting together.Peter Paul Rubens, Allegory of the Outbreak of War, 1638. Oil on canvas * The beautiful human forms and energy that take outdoor(a) attention from the chaos of this piece is a continual theme in Rubens other works. * The Thirty Years War was Rubens reason to create Allegory. * The woman draped in black, deprived of her jewels and ornaments is an unhappy Europe.Anthony Van Dyck, Charles I Dismounted, ca. 1635. Oil on canvas * Charles I turns his hind end on his attendants as he looks over his domain. * His location on higher ground gives us the idea he is higher than all of his observers and followers. * The king impersonates as a noble man for a unremarkable walk in the park, but no one can take their eyes off his purple poise.Hendrick Ter Brugghen, Calling of Saint Matthew, 1621. Oil on canvas * The naturalistic presentation of the subjects echoes the work of Caravaggio. * This piece differs from work of Caravaggio because the use of color, rather than extreme contrast of light and dark. * There is a definite claustrophobic burden as noticed by the figures being crammed into a well-lit room.Gerrit Van Honthorst, Supper Party, 1620. Oil on canvas* In this painting, Honthorst portrays the darker side of humanity. * The man on the right being fed by the woman is sometimes taken as a warnin g by Honthorst to avoid the sin of gluttony. * Honthorst frequently placed a secluded light source in his paintings, such as Supper Party, to work with violent dark and light effects.Frans Hals, Archers of Saint Hadrian, ca. 1633. Oil on canvas * The Archers were one of many militia groups that helped in liberating the Dutch Republic from Spain. * In this portrait, all(prenominal) man is a troop member yet individually different from the next. * The troop members uniform further helps create a certain rhythm to the piece.Frans Hals, The Women Regents of the Old Mens Home at Haarlem, 1664. Oil on canvas * This piece captures the details of each sitter and their cultural characteristics. * The women seem to defend different emotions all around, from complete disinterest to concern of their environment. * The monochromatic theme of this painting further adds to the paintings restraint.Rembrandt Van Rijn, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas * The students individual face s tell us each has different feelings and thoughtsabout the man being dissected. * Van Rijn diagonally placed the body to break away from the strict horizontal orientation found in traditional paintings. * Rembrandt chose to have the students all on the left over(p) side to highlight Dr. Tulp and the body.