Ducal Identity in the Chroniques de Hainaut Although presentation miniatures have a long history in illuminated manuscripts, the presentation miniature of the Chroniques de Hainaut to Philip the Good, Duke of Burgundy, achieves the height of this genre. Generally attributed to Rogier van der Weyden based on connoisseurship, the miniature excels in its painstaking attention to detail and delicacy. This attention spills over into the composition and iconography, using a system of devices, mottos, and heraldry to establish Philip the Good’s identity and political strategies. I will argue that the Duke establishes his identity as separate from his predecessors through heraldry, and positions his son, Charles the Bold, as the rightful heir to
Artemisia Gentileschi and Saint Catherine of Siena are two women in history that had perseverance and strength during a male dominated society in Rome, which can be seen in their legends (histories), popular memories, and presentations. Artemisia Gentileschi was born on July 8th, 1593 in Rome (Bissell, 153). Artemisia had an artistic upbringing due to her father, Orazio Gentileschi being a Tuscan painter. When Gentileschi’s mother died, Orazio raised and provided for Artemisia and her siblings. Although uncommon at the time, Gentileschi trained in painting and became a sensation in the craft.
The famous piece is now hanging in a museum in Paris. Along with painting “The Mona Lisa”, da Vinci also painted “The Last Supper” beginning in 1495 and finishing in 1497 (Kallen 13). Da Vinci’s stylistic innovations are very apparent in this painting and he reintroduced a style from more than a generations earlier by Masaccio (“Leonardo da Vinci”). Masaccio was known as the father of Florentine painting. The way he reintroduced Masaccio’s style was by showing the twelve apostles grouped in units of three, which then framed the figure of Christ, instead of showing the apostles as individual figures.
This artwork shows the situation that is happening in Catalonia. From this artwork Joan Miro influences Robert Motherwell to create an artwork and that is “elegy to the Spanish republic “.This was one of Motherwell largest and magisterial paintings. It was done during the campaign in Provincetown. Motherwell motifs was this inventive composition as points of departure from his other large paintings, this was most notably Elegy to the Spanish Republic and Spanish
Analysis of “Vanitas” by Juan de Valdés Leal The sixteenth century brought about many great artists, who painted in the popular style of the time Baroque. The artist and one of his paintings we will be looking at is ‘Vanitas’ by Juan de Valdés Leal (1660). The work currently resides in the Wadsworth Atheneum in Hartford, Connecticut. Son of a Portuguese father, Juan went on to become a painter, artist, stone carver and etcher. The remainder of the immense baroque painters of Seville, Andalusia (which is an autonomous community of Spain), Juan de Valdés Leal was additionally a stone carver and etcher of impressive capacity and was commended as a planner by his counterparts, albeit no structures by him are known.
The style is however, extremely significant to the hedonism of the group of upper class of the Europeans. Rococo is known for its mythical themes and unreciprocated love in the upper class. The Vivid and clever, the paintings are portrayed in such a way to reflect a mischievous and sensual dream. This particular art movement is characterized by their lightness, elegance and the overflowing use of curving, natural forms in embellishment. Jean-Honore Fragonard, was one of the most productive artist in his era, has produced an amount of more than 500 paintings during his line of work.
Durer spent a few years in Italy again from 1505- 1507 this time he made portraits and altarpieces. He again stayed mainly in Venice Italy. Here he made the Paumgartner Altarpiece. It 's a early triptych painting; which is a painting that is divided into three sections. In 1507 he was highly respected and his art was being copied.
Durer was highly innovative. Notably, Dürer used tempera-painting on linen to produce his first series of paintings, also, he produced prominent engravings, both on wood and coper, but especially on the later. It is patent by examining the works of Dürer, that he was highly influenced by the subject of religion. His painting and engraving of Adam and Eve portray this religious impact. His engraving of Adam and Eve in 1504, attempts to convey the idealized illustrations of the human body .
One single painting can be looked at through a million different lenses. The art styles reveal the temper and culture of the time. The two most crucial styles, Rococo and Neoclassical were assorted in similarities and differences such as influences, style, and theme. Rococo and Neoclassical art both possess beauty through this revolution of art eras. The painting The Love Letter, by Jean Honore Fragonard and the painting Marie Josephine Charlotte du val d’Ognes by Marie Denise Villers are similar yet distinct in their own ways.
These artists consummated frameworks of point of view and tried different things with luxurious schemes; both Michelangelo and Raphael embraced enormous projects for Pope Julius II. The late Renaissance and Baroque periods saw Catholicism go up against another force, which was reflected in the Mannerist style: works of art that were emotional and theatrical, with misrepresented forms. Not all specialists were influenced by this high intensity: Nicolas Poussin stayed tempered by his genuine Classical topic, and painted balanced, ordered