Date post: | 15-Jul-2015 |
Category: |
Art & Photos |
Upload: | richard-nelson |
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Intimate relationship
Observed relationship
Plane vs. Recession
Linear vs. Painterly
Closed vs. Open Form
High Renaissance
Baroque
Trace the edges of this detail and
see where they disappear, leaving
the viewer to fill in the missing
visual information. This device
invites viewer participation. An
example of a painterly technique.
Caravaggio portrays Christ in his
Supper at Emmaus with real, not
idealized men.
He invites viewer participation
through intimate lighting, a
recessional, painterly
and open form composition.
We are at the table
Classic
Idealized
Reason
Contemplative
Linear
Plane
Closed Form
Time Stopped
Hellenistic
Natural
Passion
Active
Painterly
Recession
Open Form
Time In Flux
HIGH RENAISSANCE & BaroqueIs to
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Caravaggio: The Conversion of St. Paul
Find visual evidence of…
Compositional planes
Painterly interpretation
Open form
Light source
Velázquez provides further evidence of a trend that focuses on a world as we see it. Idealized
mythology gives way to a Bacchus who is not idealized or glorified. It is painterly with a
composition which is recessional and arranged in open form.
Velázquez:
Spanish Baroque
Northern Renaissance Art for the eye and soul.
What tells us that
this is NOT Baroque?
Van Eyck: The Arnolfini Wedding
Morphological
&Iconographic Interpretations
How many different surfaces can we find?
How many symbolic images can we find?
What unifies this painting and the couple?
Henry VIII confronts us in a
compositional plane, i.e. his
body faces us squarely. He
rules!
The replication of each detail
in a total illumination presents
a linear painting approach.
No lost edges or areas left to
our imagination.
Rembrandt’s self-portrait
The glance; not the eye. (Painterly)
The breath; not the lips. (Painterly)
Forms appear and dissolve in light and
shadow, creating a “trap-door” lighting.
Details are suggested, providing only a
glimpse of any specific detailing.
His body turns away from us creating a
recessional plane which does not confront.
Renaissance’s sovereignty of line gives way to painterly sketching.
Note the recessional composition.
No one saw a working
mill worthy of notice
until Rembrandt draws
our attention to it as an
object of aesthetic
beauty.
Peter Paul Rubens
The Flemish painter whose
compositions dramatize
mythology with the aid of
his patron’s money and
often, her own image.
Where do we draw the line?
…and when it
comes to flesh…
François Boucher
The Rococo Period: Indulgence during the Age of Authority…
The Rape of the Sabine Women
Pruning the divergent
branches of the 17th
& 18th Centuries.
Poussin
Plane or Recession?
Linear or Painterly?
Classic or Hellenistic
origins?
What might the title be
for this period of art?