Portrait Of Andouins And Her Daughter By Sofonisba Anguissola

Portrait Of Andouins And Her Daughter By Sofonisba Anguissola
Portrait of Diane d'Andouins and her daughter by Sofonisba Anguissola
Small Biography
Sofonisba Anguissola was born into a noble family in Cremona, Lombardy in 1532. Her status
allowed her, as well as her other five sisters, to obtain a well–rounded education, which included
fine arts. In her teenage years she was the apprentice of Bernardino Gatti and Bernardino Campi,
they taught her mostly about portraiture and helped her develop her style that she would use for
self–portraits. In 1554, she travelled to Rome, there she became the apprentice of Michelangelo, one
of the most famous Renaissance figures in history. Later she travelled to Milan and painted the
Duke of Alba, Elizabeth of Valois, and the queen of Philip II of Spain, who made her ... Show more
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The Portrait of Diane d'Andouins and her daughter represent how individualism was being
demonstrated through individual portraits. Diane d'Andouins was known for her intellectuality and
cultured mind but above all else, her beauty. This painting portraying her and her daughter is an
example of how the wealthy viewed themselves as individual beings, having virtue that was non–
related to God. Is also known that the humanism ideologies affected Sofonisba Anguissola's work
and life as she learned classical Latin and all her portraits that were commissioned by the royalty
and the wealthy were secular in nature and used by her patrons to glorify their names. A perfect
example is this realistic styled painting as it is the only portrait of Diane d'Andouins and her
daughter,
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Van Dyck's Equestrian Portrait Of Charles I
Anthony van Dyck was a distinguished Flemish painter of the 17th century. He reached the peak of
his career in 1632, when he became court painter to King Charles l, in London. He was renowned
for his talent in capturing the aspirations of his subjects, excelling at portraying his patrons looking
their best. Equestrian Portrait of Charles I provides an excellent example of van Dyck's mastery of
equestrian iconography and can be related to the theme of Authority in many ways. The sitter, the
painter, the size and the genre of the painting and its symbolism are connected and together add up
to the message of power intended by the ruler of the time. The first impression when looking at the
Equestrian Portrait of Charles I is that the costly ... Show more content on Helpwriting.net ...
Charles had sought the Spanish princess' hand in marriage in 1623, to no avail. However, the
depiction of this helmet indicates the Spanish influence in English politics at that time.Charles had
sought the Spanish princess' hand in marriage in 1623, to no avail. However, the depiction of this
helmet indicates the Spanish influence in English politics at that

Jan Steen’s Self Portrait in “The Continence of Scipio”...
Jan Steen's Self Portrait in "The Continence of Scipio" as a Social Commentary
There is a tremendous difference between a fool and a jester. Fools are regarded as light–hearted,
dim–witted, and absent–minded people whose outrageous stupidity amused the rest of the
population. These jovial folk represented the lowest in society: too carefree to get ahead in society
and too stupid to care. Many people believed that Jan Steen, a prominent and well–educated artist of
the Dutch Golden Age, was a fool. It is not a far–fetched assumption to make since he donned the
appearance of a fool in his own paintings. However Steen was no fool. Much like the history of
jesters, Jan Steen's unsavory appearances in his own work is often misunderstood and ... Show more
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He also suffered some money problems during this time and had out several loans (Chapman, 1996).
Many people have concluded that Steen's money problems stemmed from his dissolute lifestyle.
However, during that time the second Anglo–Dutch war had broken out causing a severe drop in the
art market (Chapman, 1996). The post–reformation society seemingly obsessed with purity, justice,
and goodness seemed to suffer a blow to its heavenly façade when corruption among some of the
most prominent leaders of society was exposed. In 1673 William III and the Deventer fathers were
found to be corrupt and traitorous to the Dutch Republic (Kunzle, 2000). These men were meant to
be the epitome of what it meant to be Dutch. They were meant to be symbols of temperance, virtue,
and justice and were often related to Scipio Africanus, a Roman general (Kunzle, 2000). Scipio was
a popular subject matter in art, especially in 17th century Holland. During this time the middle class
became the major patrons of art. The Netherlands had just declared their independence from Spain
and wanted paintings reflecting their new Dutch identity (Shaw–Eagle, 1996). Many artists gained
fame by doing genre paintings such as scenes from everyday life. The years earlier had shown the
public's desire for genre and history painting (Meagher, 2000). Some, took old stories of

Overseas Trade Influence
How did overseas travel and trade influence taste and design in the eighteenth century? Refer to
specific movements in your response.
The 18th century is known today as the 'European age of Enlightenment' due to Europe's change in
political values, scientific advances and philosophical views. The 18th century was a time that was
very much influenced by class and wealth. Social classes were clearly recognizable due to the taste
in which one had. This had an effect on art and music as it had to adapt to societies new fondness
for overseas trends. The 18th century is said to be the time in which Britain found itself amongst the
rest of Europe as artists created their own unique way of working with influences from their
journeys around Europe. ... Show more content on Helpwriting.net ...
This Movement was inspired by the classical arts of Rome and Greece. In the mid 18th–centurty it
had spread throughout Europe and had surpassed the well–known trends at the time. Moving on
from the lavish and in some ways over the top designs that were prominent in early 18th century,
Neoclassical arts were said to be a far more logical and tasteful approach to art. This meant that the
uncontrolled need for colours and lavish designs was dying out and people were starting to adapt to
a mature and simplistic taste. Greek artifacts were the main inspiration at the time for Neoclassicism
and it quickly became the new architectural styles used by governments due to clear link to Roman
and Greek democratic society's. This is clearly portrayed in iconic structures such as The White
House which was built in the late 1700's and Arc De Triomphe in Paris. Neoclassicism was first
brought to England by wealthy young students who had studied abroad in Rome. Breaking away
from more emotional themes, Neoclassical art is said to be un–emotional and cold when in actual
fact numerous paintings depicted a person full of courage and sacrifice. Artists who followed this
movement aimed for symmetry and proportion. Composition and accurate detail was an important
detail for artists when working this way. Mythological scenes were still produced however they had
realistic, contemporary theme to them. Archeology

Biography Of John Singer Sargent 's Life
John Singer Sargent began his life in Florence, Italy, on January 12th, 1856, and he grew up abroad,
as his parents became expatriates, leaving behind their home in Philadelphia to enjoy living and
travelling through Europe. It was because of this that Sargent's education was somewhat
unconventional, for his study was mostly informal, and this may have contributed to his singular
personality. Sargent's early exposure to European art and culture certainly had a profound effect on
him, and he was able to converse readily in French, German, and Italian through his travels. The
knowledge he gained through his life abroad proved to be quite helpful throughout his career, and
this exposure to such diversity would later become evident in his ... Show more content on
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One of the best examples of Sargent's early style is his dramatic painting of 1882, El Jaleo, where
his emulation of Velázquez' use of light and color is especially apparent (Fig 1). Possibly the
painting in which Velázquez' influence is most obvious, however, is the painting The Daughters of
Edward Darley Boit of 1882 (Fig 2). Its candid arrangement, subjects, vast shadows, luminosity, and
muted colors bring to mind Velázquez' renowned painting Las Meninas (Fig. 3).
Although Sargent was creating and studying art during the 19th century art movement of
Impressionism, his art did not reflect this exposure, apart from some of his early works, and it is not
generally considered Impressionist; nevertheless, certain of his artistic elements do show that there
was some effect on his style from the artists of his time. One such characteristic of the Impressionist
movement is Sargent's compositional arrangements that are somewhat candid. Additionally, a
prominent feature of Sargent's art is his fascination with and masterful handling of light. Light was
one of the principles that was of greatest importance in Impressionist art, and their art was "in
reaction to the reflex of light, either real or imaginary." This definition of one of the aesthetic
principles of Impressionism truly encapsulates the work of Sargent, for, even in his earliest art, his
attention to light, its source – real or fairly

Daedalus And Icarus By Anthony Van Dyck
The painting Daedalus and Icarus by Anthony van Dyck, (located in the AGO's European section)
visually represents a few concepts we have covered in our Adolescent Development and Health
course, such as the conflicts that arise between parents and their adolescent children in the Steinberg
and Morris article: "Adolescent Development".
Van Dyck's painting captures the subtleties of adolescent naivety, Icarus' hand gesture can be argued
as being like the contemporary shoulder shrug and eye roll of a teenager as their parent warns or
lecture them. His eyes look towards the viewer, rather than to his father, as Daedalus points
upwards, warning him not to fly too close to the sun, or his wings will melt and he will fall to his
death ("Classic

Art From Baroque Period Through The Postmodern Era Essay
Art from Baroque Period through the Postmodern Era
Renaissance art history began as civic history; it was an expression of civic pride. The first such
history was Filippo Villani's De origine civitatis Florentiae et eiusdem famosis civibus, written
about 1381–82. Florentine artists revived an art that was almost dead, Villani asserts, just as Dante
had restored poetry after its decline in the Middle Ages. The revival was begun by Cimabue and
completed by Giotto, who equalled the ancient painters in fame and even surpassed them in skill
and talent. After Giotto came his followers, Stefano, Taddeo Gaddi, and Maso, uomini illustri all,
who, together with notable jurists, poets, musicians, theologians, physicians, orators, and others,
made ... Show more content on Helpwriting.net ...
These texts are among the handful that treat art in the early Florentine Renaissance and are,
therefore, precious testimony from the early years of Renaissance art history. While rare for being
texts on art, they are of a type, however, that was common in Renaissance literature. They belong to
a genre or category in which are found some of the most characteristic texts of Renaissance
humanism. Other of the books in this category are by such writers as Bruni, Salutati, and Manetti,
books with which all students of the Renaissance are familiar. They treat broad moral and
philosophical issues, but, as in the accounts of visual art, only insofar as they concern the city of
Florence. And scholars reasonably have asked why there was such a preoccupation with Florence at
this time. One of those who did so was Hans Baron and his answer has been at the center of
discussions of this question since the 1950s.
Baron linked the focus on Florence during the years around 1400 to a struggle over Florentine
independence that began in 1390 with a declaration of war by Milan and ended only in 1454, when
Milan accepted the independent status of the Florentine Republic. These events, he proposed,
explain the direction taken by Florentine political speculation at this time, particularly the stress on
republican ideals of liberty and civic involvement; they gave rise to a

Analysis Of Donatello's Equestrian Monument Of Erasmo Da...
It is intriguing to notice throughout art history the relationship between the artist and the patron.
Many famous and outstanding works of art only exist because of the wealthy patron behind the
work. From early renaissance sculpture to baroque style painting, patrons become increasingly
interested in commissioning art as a way of exhibiting their great power and influence whilst
maintaining an image of poise and regality. Donatello's Equestrian Monument of Erasmo da Narni,
(Gattamelata), (1443–1453) is a bronze sculpture made to commemorate the military
accomplishments during Gattamelata's lifetime. Although the sculpture was constructed after his
death, Donatello represents the general as youthful and stern. Anthony van Dyck's painting, Charles
I at the Hunt, 1635, conveys a similar interest in focusing on all the positive aspects of the patron,
King Charles the ... Show more content on Helpwriting.net ...
The horse and Erasmo both are rendered with precision, flow, and with an accurate anatomical
representation. Detail is apparent in the muscular bodies which keeps a natural connection between
the horse and his rider. Although the subject rises above us, his disposition stays true to life.
Donatello chose to show a youthful Erasmo in his prime and hardened from battle. This further
establishes himself as a confident leader. He holds a baton diagonally in his right hand giving the
statue forward momentum. He presses onward even in death. The bronze statute sits on a plain
marble base that is arranged upon a limestone pedestal which includes the relief sculpture of the
angels and battle armour. The entire work is approximately 3.71 meters high (Stokstad, 631) with
the base and statue in a slightly deteriorated condition in present day. Donatello achieved his intense
facial features by using the lost wax method. By having individual emotions for each figure, it
builds upon the overall impressive feel to the whole

Art History Study Guide
Periods and their Artists * Chapter 3 Egypt * Old Kingdom (2700–2190 BCE) * Imhotep – Stepped
Pyramid of Djoser * Chapter 5 Ancient Greece * Archaic (600–480 BCE) * Andokides Painter –
Achilles and Ajax * Ergotimos –[and Kleitius] Fracois Vase * Euphronios –Death of Sarpedon *
Exekias –Achilles and Ajax; Suicide of Ajax; Dionysis in a Boat * Polykleitos –Doryphoros *
Classical (480–320 BCE) * Kalikrates –Temple of Athena Nike; [ and Iktinos] Parthenon * Lysippos
–Apoxyomenos * Mnesikles –Propylaia, Erechtheion[Porch of the Maidens] * Myron –Diskobolos
* Phidias –Acropolis; 3 Seated Goddesses E. Ped. ... Show more content on Helpwriting.net ...
James Led to Execution; Dead Christ * Masaccio –Tribute Money/ Expulsion in the [and Masolono,
Filippino Lippi] Brancacci Chapel; Trinity with Virgin, St. John the Evangelist, and Donors *
Michelozzo –Palazzo Medici Ricardi * Perugino –Delivery of the Keys to St. Peter, Sistine Chapel *
Pollaiuolo –Hercules and Antaeus; Battle of the Ten Nudes * Robbia, Luca della –Madonna and
Child with Lilies, Orsanmichele * Rosselino –Tomb of Leonardo Bruni, Santa Croce * Signorelli –
Damned Cast into Hell * Uccello –Battle of San Romano * Verrocchio –David; Bartolommeo
Colleoni * Chapter 22 Italy (16th century) * High Renaissance (1500–1550) * Bellini, Giovanni –
San Zaccaria Altarpiece; [and Titian] Feast of the Gods * Bramante –St. Peter's, Rome; Tempieto *
Correggio –Assumption * Da Vinci –Virgin (Madonna) of the Rocks; Virgin and Child with St.
Anne and Infant St. John; Last Supper, Refectory; Mona Lisa * del Sarto, Andrea –Madonna of the
Harpies * Giorgione –Pastoral Symphony; The Tempest * Michelangelo –Pieta/Dome, St. Peter's,
Rome; Bacchus; David; Moses, tomb of Julius II; Bound Slave; Prisoner; Sistine Chapel Ceiling:
Creation of Adam, Creation of Eve, Temptation, Expulsion, Erythraean Sibyl, Prophet Jeremiah,
Last Judgment; Dani Tondo (aka Holy Family); Tomb of

The Works Of Rembrandt And Rubens
The Works of Rembrandt and Rubens
During the 17th century, especially after their break from Spain, The United Provinces of the
Netherlands became the most prosperous nation in Europe by leading the world in trade, science,
and art. Through the huge and one of the first art markets, art became a common household
possession and allowed artists to freely express themselves, which is one of the evidential factors in
three of the most universally admired artists of the baroque art era. Rubens, an influential Flemish
artist of the Italian baroque scene, focused more on the works of the counter–reformation while the
masters of the Dutch baroque art, such as Rembrandt, were in the heart of the protestant Dutch
Republic. These three artists share similar artistic styles but yet have extremely evident differences
and influences. The artists' work also have a great portrayal of the historical and social impacts of
the 17th century.
This dynamic century shaped much of the modern world of today. With all the great scientific
discoveries and the recent protestant reformation, the world no longer revolved around religious
devotion and mysticism but had a stronger focus on individuality. The laws of nature and
observation by reasoning proved that everyone is capable of observing the world through
mathematics, logic, and experimentation. Another major characteristic of the 17th century is the
major political decisions and the international struggle for colonial domination. Colonialism was

The Judgment of Paris and The Miracle of the Fishes Artwork
How often do we see things in life that require a double–take, a second glance, a follow–up look, or
even multiple subsequent studies? The answer is quite simple: everyday. The things we often look at
a second time are often not intellectually worth the look, whether it be an irrational teenager
attempting some outrageous skateboarding stunt, a monkey drinking its own urine, or even a two–
headed cat, people have stopped spending their second or third glances on things that are
meaningful and sensible. As a result people have lost the appreciation of evaluating and scrutinizing
art and often don't think of looking at it a second or third time to really "look" at it. Sure people go
to museums and galleries, but nowadays, how many of them ... Show more content on
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In the first painting, Paris is giving the gift of the Golden Apple to the Goddess Aphrodite for her
stunning and blinding beauty; whereas in the second painting Jesus is giving the gift of food to the
famished fishermen, who up until then had no food for themselves. This theme is always seen in
many different ways due to the fact that the range of gifts is vast and can contain a plethora of
different types of things. Despite having the same theme and basic ideas, the paintings differ in the
motives for the gift giving. In The Judgment of Paris, Paris gives the Golden Apple to Aphrodite
partially because it was commanded of him by Zeus and partially because of his personal gain.
Contrary to that idea of gift–giving to raise the already magnificent even higher, is the idea of Jesus'
selfless contribution to those in need. The two paintings also have one major difference; their styles
differ in that the first has very prominent and refined looking characters and the second has more
moderate and somewhat petty ones. In The Miracle of the Fishes the focus is on the modesty of the
fisherman, whereas, in The Judgment of Paris the characters–the goddesses especially–appear
dignified and distinguished. In both of these paintings Jordaens uses aspects that are inherent in the
majority of his works. He incorporates two well–known details; the anatomy of human bodies–men
appear robust, hardy and strong, while the

Essay on Art from Baroque Period Through the Postmodern Era
Art from Baroque Period through the Postmodern Era
Renaissance art history began as civic history; it was an expression of civic pride. The first such
history was Filippo Villani's De origine civitatis Florentiae et eiusdem famosis civibus, written
about 1381–82. Florentine artists revived an art that was almost dead, Villani asserts, just as Dante
had restored poetry after its decline in the Middle Ages. The revival was begun by Cimabue and
completed by Giotto, who equalled the ancient painters in fame and even surpassed them in skill
and talent. After Giotto came his followers, Stefano, Taddeo Gaddi, and Maso, uomini illustri all,
who, together with notable jurists, poets, musicians, theologians, physicians, orators, and others,
made ... Show more content on Helpwriting.net ...
While rare for being texts on art, they are of a type, however, that was common in Renaissance
literature. They belong to a genre or category in which are found some of the most characteristic
texts of Renaissance humanism. Other of the books in this category are by such writers as Bruni,
Salutati, and Manetti, books with which all students of the Renaissance are familiar. They treat
broad moral and philosophical issues, but, as in the accounts of visual art, only insofar as they
concern the city of Florence. And scholars reasonably have asked why there was such a
preoccupation with Florence at this time. One of those who did so was Hans Baron and his answer
has been at the center of discussions of this question since the 1950s.
Baron linked the focus on Florence during the years around 1400 to a struggle over Florentine
independence that began in 1390 with a declaration of war by Milan and ended only in 1454, when
Milan accepted the independent status of the Florentine Republic. These events, he proposed,
explain the direction taken by Florentine political speculation at this time, particularly the stress on
republican ideals of liberty and civic involvement; they gave rise to a distinctive type of humanism,
rooted in "a new philosophy of political engagement and active life," and devoted to the celebration
of Florence's republican liberties.
Bruni was responding not to recent events in Florence, came the rejoinder, but

The Assigned Portrait By Anthony Van Dyck
The assigned portrait is a work by Anthony van Dyck that dates back to 1621, presumably finished
before the artist left his native city of Antwerp for Italy (Genua). From the title, we gather that Van
Dyck is depicting a family of three. The father is sat on the right, while the mother is sat on the left;
they are both facing the viewer. Their young child is positioned on the mother's lap, its head turned
towards the father. The colour scheme includes rich, dark colours for the attire of the couple, a
vibrant red colour for the drapery behind the mother and similar shades of dark green for the
mother's skirt, the child's skirt and the velvet fabric on the furniture approximate to the child's skirt.
Additionally, the inset of the mother's dress ... Show more content on Helpwriting.net ...
The bear little resemblance to other depictions of Wildens, whose "satyr–like" characteristics and
"sharp glance" are considered distinctive. However, the features of the father in our case study look
oddly familiar. That is because they are much more similar to the characteristics of the father in the
portrait 'The Family of Cornelis de Vos (1584/5 – 1651),' also by Van Dyck. In addition to the facial
features, Van Dyck diligently portrayed "the fine lace ruff and sleeves of the man's attire and the
tightly starched ruff of the woman" (The State Hermitage Museum, "Family Portrait") in both
portraits, pairing those with delicate hand gestures, present in both paintings. To boot, Van Dyck
used the same landscape art as a background for the father's head and the same deep red coloured
blinds behind the mother. The colour schemes and even the golden button details and the wooden
handle on the furniture where the mother is sat are alike, too. Given these similarities (and the fact
that de Vos painted a portrait of his own family during the same period), it might be possible that the
family in the portrait is actually that of Cornelis de Vos. (Dickinson, "Sir Anthony Van Dyck") Since
we know that Magdalena, the youngest daughter of de Vos was born in 1619, it is possible that the
family portrait below was painted in 1620 and our case study was actually painted

How Portraiture Has Changed Over The Years
Portraiture has been around for many years, dating all the way back to cave drawings. It is an art
that has continued to progress and evolve while maintaining the key elements that classify it as
portrait making. Despite the fact that as an art it has changed throughout history, portraiture
continues to be an integral part of society. Even though the subject matter seems simple and limited,
there are infinite amounts of ways a person can be creative when it comes to designing a portrait.
There are a multitude of ways a portrait can be created, depending on the tools that are used and the
style the artists desires the portrait to be. Portraiture has continued to develop throughout the years,
starting with cave drawings, leading up to today where everyone is constantly taking photographs.
However, at one time it was not so easy to come by a portrait. Originally if someone wanted a
portrait to be done, it would have to be requested of an artist. Before photography, portraits were
typically done in painting media such as oil paint, which meant once an artist was commissioned it
could take months before receiving the final product. Portraits are also closely associated with the
wealthy or the royals because they could afford the price of having a ... Show more content on
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It is important to recognize the value that portraiture brings to society, as well as understand the
depth of knowledge and skills that goes into creating any piece of artwork. Portraiture requires a lot
of skill and knowledge when it comes to technique and materials. Portraits can be created in various
ways and inspire numerous different emotions. Due to the emotions that portraits produce, they
continue to be a vital part of our lives. Art has always been an essential part of society and as
portraiture and other various types art evolve, while they may be different, they will continue to be
an integral part of our

Ocd
COGNITIVE–BEHAVIORAL THERAPY FOR OCD This page intentionally left blank
COGNITIVE–BEHAVIORAL THERAPY FOR OCD DAVID A. CLARK THE GUILFORD
PRESS New York London © 2004 The Guilford Press A Division of Guilford Publications, Inc.
72 Spring Street, New York, NY 10012 www.guilford.com All rights reserved Paperback edition
2007 Except as noted, no part of this book may be reproduced, translated, stored in a retrieval
system, or transmitted, in any form or by any means, electronic, mechanical, photocopying,
microfilming, recording, or otherwise, without written permission from the Publisher. Printed in the
United States of America This book is printed on acid–free paper. Last digit is print number: 9 8 7 6
5 4 3 LIMITED ... Show more content on Helpwriting.net ...
However, by the late 1980s and early 1990s, behavioral researchers like Paul Salkovskis and Jack
Rachman were advocating a more integrative theory and treatment of OCD, an approach that
amalgamated the behavioral treatment of OCD with Beck's (1976) cognitive theory of emotional
disorders. From these two theoretical perspectives on clinical disorders, a new cognitive–behavioral
approach to obsessions and compulsions was born. In many respects, my own professional
development has taken a path similar to that seen in cognitive–behavioral therapy (CBT) for
obsessional states. My roots are in the behavioral tradition, dating back to the early 1980s when I
was a graduate student at the Institute of Psychiatry in London, England. My interest in OCD and
unwanted intrusive thoughts was sparked by the stimulating discussions and innovative research of
the clinical faculty, most notably Jack Rachman and Padmal de Silva. My doctoral thesis on the
psychophysiology of mental control and unwanted intrusive thoughts was an outgrowth of their
insights into the pathology of obsessional thought. vii viii Preface In the late 1980s, I was
introduced to the cognitive perspective on clinical disorders by Aaron T. Beck. I was privileged to
spend a few months at the Center for Cognitive Therapy in Philadelphia, where I received training
in Beck's therapy approach. Over the last 15 years I have

The Artistic Style Of Mannerism
The artistic style of Mannerism began in Florence and reigned from the early 1520's until about
1590 where it had been widely spread in Northern Europe. Early Mannerist period art is known for
its anti–Renaissance style which over time developed into a more intellectual style designed to
appeal to a more sophisticated patron. Artists of this time, such as Correggio, Fiorentino and
Parmigianino, were followers of the Renaissance masters. Mannerism was an artistic approach that
focused on the human form, depicted in intricate poses with exaggerated and not always realistic
settings. This style is the first observation of artists using an individual way of painting, the personal
vision and pictorial understanding of their world.
The new ... Show more content on Helpwriting.net ...
More often than not figures appear as decorative arrangement of forms in front of flat background
with limited dimensions. They used techniques of constricting spatial relationships, intense and
unnatural colors and an emphasis on abnormalities of scale.
Mannerism came about following the publication of the Wittenberg These by Martin Luther. Luther
declared religious war of the Reformation against the Catholic Church. The main point of contention
was the sale of indulgences by the Pope. These absolutions were offered to the faithful by which
they could buy forgiveness from the Pope and provided the Church with a lucrative source of
income ("Mannerism Art Movement," n.d.). In addition to the religious upheaval there were
scientific discoveries that lent confusion in how the people of the period viewed the world around
them. Many of the paintings depict that man was no longer the center of the universe, as if the
painters had lost their faith in ordered harmony so perfectly displayed in earlier works of art.
Mannerism retained a high level of international popularity until the works of Pontormo and
Caravaggio around 1590 brought the challenging style to an end and ushered in the long dominance
of Baroque. The transition between Mannerism and Baroque could be easily described as a view of
the world in which real and unreal, the spiritual world and the perceptible world can no longer be
distinguished. While the Mannerist approach to art reflected the confused tension

Anthony Van Dyck And His Influence During The Baroque Period
This essay focuses on Anthony Van Dyck and his influence during the baroque
period, his portrayal of people through portraiture and the work that focuses on depicting
religious and mythological paintings such as Daedalus and Icarus, around 1620. As well as
exploring his life and influence through portraiture.
The artist, Anthony Van Dyck known most notably for his impact within the
baroque period, around 1621–72. Was known for his portrayal in religious works as well as
his portraits. He was the pupil of Hendrick van Balen, a Flemish baroque painter and
stained–glass designer; this allowed him to flourish as an artist at such an early age. Soon
after, he became Peter Paul Rubens assistant; Rubens another ... Show more content on
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The baroque period was very important piece European art history, in which all
forms of art was changed under the influence of "religious and ideological movements of
the Catholic Counter–Reformation in Europe." (Sandywell, 1st Edition, 2011) This era
lasted from early 1600 to late 1800. The baroque period can also be broken down into two
sub categories: Italian baroque and Spanish baroque. The paintings during the baroque
period this time heavily focused on building and expanding their work on "naturalistic
tradition reestablished during the Renaissance" (Lagasse, 2017) specifically in ways art
was more focused on playing with depth and space. Letting the eye perceive something
with greater depth or space through the use of color manipulation. This really impacts the

viewer, and helps them receive a sense of emotion through art. Works had "A heightened
sense of drama was achieved through chiaroscuro", (Lagasse, 2017) playing with tints and
tones or lightness and darkness within a piece of painting. The added effect of depth
through colour was really thought out and changed art during this era. To create a realistic
piece that portrays emotion caught the attention of people. Compared to older works of art
that had been used for propaganda, building incredible structures, or to worship their God;
the

The Wrestler 's Body : Identity And Ideology
Alter, Joseph S. 1992. The Wrestler's Body: Identity and Ideology in North India. Berkeley:
University of California Press.
Anthony, Susan B. 1896 [suffragist], History of Women in Sports Timeline.
Bale J. 1991. The Brawn Drain: Foreign Student–Athletes in American Universities. Urbana, IL:
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Benefits, Patterns, Influences and Ways Forward. Canterbury Christ Church University College,
Journal of Physical activity and health alliance
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at a Queer Bathhouse Event.
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American Ethnologist, Vol. 39, No. 3, Pp. 491–510
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History of Portraiture Essay example
History of Portraiture
Portraiture is a visual representation of an individual people, distinguished by references to the
subject's character, social position, wealth, or profession.
Portraitists often strive for exact visual likenesses. However, although the viewer's correct
identification of the sitter is of primary importance, exact replication is not always the goal. Artists
may intentionally alter the appearance of their subjects by embellishing or refining their images to
emphasize or minimize particular qualities (physical, psychological, or social) of the subject.
Viewers sometimes praise most highly those images that seem to look very little like the sitter
because these images are ... Show more content on Helpwriting.net ...
The Romans were expert in rendering individuals. Some scholars have argued that it was the
practice of making and keeping death masks of ancestors (worn by survivors in the funeral
processions) that accounts for the enormous skill with which Roman portraitists captured the
individuality of their subjects. Many portrait busts survive, including images of Roman rulers as
well as poignant representations of aged citizens. Especially noteworthy are the mummy portraits
from the region of Al FayyÅ«m in Egypt. Painted during the 2nd century ad, these portraits depict
individuals who stare wide–eyed at the viewer. These slightly simplified representations of staring
subjects anticipate the severity and frontal orientation of early medieval portraits.
The Renaissance marked a turning point in the history of portraiture. Partly out of interest in the
natural world and partly out of interest in the classical cultures of ancient Greece and Rome,
portraitsÂ–both painted and sculptedÂ–were given an important role in Renaissance society.
In the Netherlands, Jan van Eyck was a leading portraitist; The Arnolfini Marriage (1434, National
Gallery, London) is a detailed full–length portrait of a couple. Leading German portrait artists
include Hans Holbein the Younger and Albrecht DÃ¼rer.
During the baroque and rococo periods (17th century and 18th century, respectively),

Formal Analysis on Rachel Ruvigny Portrait by Anthony Van...
Formal Analysis on Anthony van Dyck's Rachel de Ruvigny, Countess of Southampton
Titania Andiani Rosari
Student ID: 24570745
MCD1280 Art Theory A
Essay
January 9, 2013
Formal Analysis on Anthony van Dyck's Rachel de Ruvigny, Countess of Southampton
There are actually two versions of Anthony van Dyck's painting of the countess of Southampton;
Anthony van Dyck, Rachel de Ruvigny, Countess of Southampton, ca. 1640, National Gallery of
Victoria, Melbourne (see fig. 1) and Anthony van Dyck, Rachel de Ruvigny, Countess of
Southampton as 'Fortune', ca. 1638, Fitzwilliam Museum, University of Cambridge (see fig.2).
There have been discussions on which between the two is the primary version. Ursula Hoff argued
that the painting located ... Show more content on Helpwriting.net ...
There is an obvious use of geometric shape of a circle on the sphere to form its whole shape and
having organic shapes for the whole figure of the countess and especially the clouds in the
background and foreground. The artist has also managed to develop the texture in this painting. He
mainly used light and rough brushstrokes instead of thick layers of paint like impasto. Gentle and
small brushstrokes build up the figure of Rachel de Ruvigny, from her hair to her gown. These
brushstrokes do not appear loose or quick. The shine and the way the fabric flows create the texture
of silk (see fig. 6). The application of oil paint has helped in achieving the production of this texture.
For the clouds, the build up of paint through dabbing and swirling has made them look soft and
fluffy. The sphere is also painted with reflective spots and a smooth surface to create the texture of a
sleek fragile orb. Moving on to the colour harmony of this painting, Anthony van Dyck has used
complementary colours two of which are blue and orange. The subject, Rachel de Ruvigny, is
mainly wearing a blue/blue–green gown as where the background and other objects such as the
sphere and skull are painted in this dark hue of orange that contrasts with the main subject. Van
Dyck has also used different types of lines in this painting. Firstly, the folds and wrinkles in her
clothes are created by soft and sensual lines that have made the fabric more realistic. Also, contour
lines have been used to

The end of the Middle Ages and the beginning of new era,...
The end of the Middle Ages and the beginning of new era, the beginning of the transition from
feudal to bourgeois medieval society, when the foundations of the feudal social way of life were
shattered, and the bourgeois–capitalist relations have not yet emerged with all their mercantile
morality and soulless hypocrisy, is known as the Renaissance. The love of aristocracy for wealth and
splendor were provocative, where the Church considered as a clear access to the political power.
Rome itself became the biblical Babylon, which dominated by corruption, unbelief and immorality.
The era of free urban communes was short, the era of tyranny began shortly. A commercial rivalry
among the European cities eventually turned into a bloody rivalry. In ... Show more content on
Helpwriting.net ...
A significant contribution during the Renaissance came from Sofonisba Anguissola, who is the first
successful female painter of her time, and one of the first women artists to become internationally
acclaimed.
Born in 1532 in Cremona, she was raised at a time of change, and although Renaissance was still
very much a man's world, she was still able to think otherwise and accomplish much success.
Sofonisba Anguissola came from a noble background. Unlike other women artists of that period, she
was one of the few who were not trained by their fathers or husbands.
Amilcare Anguissola, father of Sofonisba, who belonged to the elected aristocratic circle of Genoa,
encouraged all of his seven children to explore their talents. Amilcare and his wife, Bianca Ponzone,
gave to their offspring sounding names: Sofonisba, Minerva, Helena, Europe, Asdrubal, Lucia and
Anna Maria. Unfortunately, Bianca Ponzone died when Sofonisba was only five years old. If
Amilcare was married for the second time is unknown, but on the drawings and paintings of his
daughters there is no stepmother – only the father, children and the maid.
At that time obtaining the minimum of knowledge was enough for women to get marry or join the
monastery. Amilcare Anguissola was a man of independent views and did not consider it mandatory
to follow the traditions. All of his children received pretty

Jacobean Era Research Paper
How did visual art change the culture and the influence of modern art today, from the Jacobean and
Elizabethan eras? Well, to put into perspective, the Jacobean era was best known for the literary and
visual arts, which was ruled by James I of England. Comparing it to Elizabethan art, it was heavily
influenced by the European Renaissance ideals. But most importantly, the art that was composed
around this time, was immensely based around Queen Elizabeth's liking. "The distinctions between
the early jacobean and the preceding Elizabethan styles are subtle ones, often merely a question of
degree, for although the dynasty changed, there was no distinct stylistic transition" (Jacobean Age
1). To have an outlook on the rest of this paper, the artists ... Show more content on Helpwriting.net
...
"The arts in Europe blossomed into bold new forms, blending the philosophy, and creative forms of
the ancient civilizations of Rome and Greece with contemporary European style" (Elizabethan
World 1). England was held up in a religious dispute during the fifteenth century, slowing them
down on the new influences of the Renaissance. Queen Elizabeth I reign was known as the
Elizabethan era, often referred to as the "golden age," is when the first steps to the English
Renaissance had begun. Elizabethan artists were heavily influenced by the English Renaissance, as
well as Queen Elizabeth I. Her picture was usually incorporated in literature, as well as paintings.
Her love for pageantry, music, and dancing helped the artists get a better point of view of her in
their paintings, and sculptures. She did not care much between popular entertainment, and higher
arts. She was easily entertained watching bear baiting, or watching fireworks, as to listen to her
personal entertainers. Iconoclasm began under the rule of Elizabeth's younger Protestant brother,
Edward VI. Iconoclasm was the planned destruction of monuments, statues, images, pertaining to
religious icons. Elizabeth admired the art of the Catholic religion so much that she played primary
role in preserving some of the art that was trying to be destroyed. The wealthy upper–class
Elizabethans loved portrait

preschool Essay
California Preschool Learning Foundations Volume 2 CALIFORNIA DEPAR TMENT OF
EDUCATION SACRAMENTO, 2010 California Preschool Learning Foundations Volume 2
Visual and Performing Arts Physical Development Health Publishing Information The California
Preschool Learning Foundations (Volume 2) was developed by the Child Development Division,
California Department of Education. This publication was edited by Faye Ong, working in
cooperation with Laura Bridges and Desiree Soto, Consultants, Child Development Division. It was
designed and prepared for printing by the staff of CDE Press, with the cover and interior design
created by Cheryl McDonald. It was published by the Department of Education, 1430 N Street, ...
Show more content on Helpwriting.net ...
With the goal of ensuring that all preschools in California offer highquality programs, the California
Department of Education collaborated with leading early childhood educators, researchers,
advocates, and parents to develop Volume 2 of the preschool learning foundations. The foundations
outline key knowledge and skills that most children can achieve when provided with the kinds of
interactions, instruction, and environments shown by research to promote early learning and
development. Volume 2 focuses on three domains: visual and performing arts, physical
development, and health. These domains often receive less attention than some of the other
domains, but they are equally important for preschool children's overall learning and development.
As research that is summarized in this volume indicates, physical v vi exercise and healthy
routines and nutritional choices set the stage for lifelong healthy habits. The recent NAEYC report
underscores the need for children to play outside, use their large muscles, and engage in vigorous
physical activities every day. Of course, the visual and performing arts fuel both preschool children's
imaginative play and creativity and also promote learning in all domains, including physical skill
development, cognitive development, and social–emotional development. I believe that these
foundations will help guide and support all California preschools in providing developmentally

Martyrdom Of Saint Antonio Di Credi
At the Nelson Atkins Museum of art there are many different Art pieces from the Renaissance time
period. Of the collection 5 pieces grasped the attention (4 from the Renaissance and 1 from
Baroque) due to their style, subject matter, use of color, symbolism, figure placement, artist
attention and technics. The 5 pieces of artwork are Madonna and Child with the Infant Saint John
the Baptist (1510), Portrait of a Man (1620/21), The Martyrdom of Saint Lawrence, Christ and the
Centurion, and The Triumph of Bacchus. The Painting of Madonna with the two children by
Lorenzo di Credi, shows Madonna in a blue dress with a veil covering her face to show a sign of
virginity and innocence with two children. Di Credi worked alongside Leonardo Di Vinci, and in the
painting Di Credi shows ... Show more content on Helpwriting.net ...
In the 3rd century Christianity was outlawed and public executions such as Saint Lawrence's were
made public to spread a message. In the painting Girolamo tried to connect back to classical times
by using a oil pain which is dries slow and is flexible therefore allowing him to use Sfumato, which
allows the colors to gradually shade into each other, creating a classic look. He also uses a technique
that allows the focal point to be on Saint Lawrence by having the crowd look at Saint Lawrence
being grilled. In 1575 Paolo Caliari created the paint, Christ and the Centurion in Venezia, Italy. The
image depicted shows Christ converting Roman Centurion and shows the symbolism of Christianity
to non–Jews. The painting shows a strict relief composition to show the classicizing Renaissance
style during the ages of Mannerism. Different details of the painting show a more contemporary
style rather than ancient roman patterns which is typically shown in the Italian

Renaissance And Artemisia Gentileschi ( Baroque )
Lane–––Sofonisba Anguissola (Renaissance) and Artemisia Gentileschi(Baroque) The renaissance
began in Italy from the 14th to the 16th century, and was followed by the baroque period which
roughly was between 16th to 17th century, each revolutionized the period prior. This is perfectly
represented by two very different and yet very similar artists: Sofonisba Anguissola and Artemisia
Gentileschi. Though one more so paved–the–way for the other, there connection appears to have
nearly materialized out of thin air, and begs the age old psychological question of nature Vs.
nurture.
Anguissola started life in Cremona, Italy in about 1532, during the renaissance period. She would go
on to dazzle all those before her with her virtuousness, ... Show more content on Helpwriting.net ...
This is similar to Gentileschi, who moved to a variety of places such as London, Florence, Venice,
and Naples. I suspect that the two mutually wanted to escape and pursue brighter futures while
developing their already noteworthy talents. Another interesting commonality between the two is
that Anguissola's mother died when she was around 4 or 5. Similarly, Gentileschi lost her mother at
a young age, when she was around 12 years old. Gentileschi must have struggled more as a result
than her fortunate predecessor, as she was not from prestigious family. Her father was a fairly well–
known artist who worshipped Michelangelo Merisi Caravaggio's style, especially his use of
tenebrism. This adoration was imparted to his daughter Artemisia, who often copied this style.
Intriguingly, there is a bizarre connection even in this. There is some rumor that a drawing that
Anguissola had sent to the famed artist Michelangelo di Lodovico Buonarroti Simoni (the more
famous one), had ended up in a notebook belonging to Giorgio Vasari, and is suspected to have been
discovered by Caravaggio, which later inspired his painting 'Boy Bitten by a Lizard'. There is a clear
connection through time between these two women. Yet, in a way seems to have been founded
through pure chance and phenomenon. As hard as it is to believe, this is not the only person who
intertwines these women together. Anthony Van Dyke visited Anguissola when she was very old,
and blind, but spent hours

Portrait Of Andouins And Her Daughter By Sofonisba Anguissola

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