On A Sunday Afternoon, I Can Think Of No Better Activity...

On a Sunday afternoon, I can think of no better activity...
On a Sunday afternoon, I can think of no better activity than to stroll around Los Angeles County
Museum of Art (LACMA) for the afternoon. It never ceases to amaze me the amount of people who
are there for the express purpose of viewing, and hopefully, appreciating art. I have been to LACMA
countless times, starting from the time that I was a very young girl, but never before had I gone with
a specific assignment to complete – to view LACMA's collection of Renaissance art in order to
compare and contrast pieces in their exhibit to the works of art that we have studied in Humanities
class. I will be focusing on Madonna and Child in a Landscape by Cima da Conegliano as well as
Portrait of a Man by Petrus Christus and comparing and ... Show more content on Helpwriting.net ...
Portrait of a Man is a detailed representation of an unnamed individual painted with oil on oak
panel. Like van Eyck's The Arnolfini Wedding, Portrait of a Man is rich in vibrant hues, and highly
detailed. The aforementioned painting by van Eyck, which is a full length portrait that shows a
couple in their home around the time of their marriage, has a more complex composition than
Portrait of a Man, and is rich in symbolism. Christus' piece portrays the individual up close, from
the shoulders up, with a black background. While it may have less accompanying detail in the
background, the individual is portrayed in a realistic, vibrant detail that is reminiscent of van Eyck's
style. The unnamed man has a serious expression on his face, with what seems to be some facial
stubble and bags under his eyes that makes one wonder what it is that is going on with him. Dressed
in what appears to be a plush red velvet tunic, it's almost as if one could reach out and stroke the
fabric.
I did not get to view the specific Renaissance artists that we covered in class as LACMA does not
have in their permanent collection Renaissance artists such as Raphael, van Eyck, Botticelli or Da
Vinci. I did however, greatly enjoy viewing their contemporaries and felt that I had done so with a
different eye than I had ever done at any previous visits to that museum. Frankly, I would have
probably breezed
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Summary Of The Merode Altarpiece
What do a window pane, a cup, a mousetrap, and a wine rack have in common? They are all hidden
symbols in "The Merode Altarpiece" Fig. 1 that contain a secret meaning to the viewer which upon
first glance does not appear to have a religious meaning. To put commonplace objects and make
them spiritual was an everyday practice in art in the northern Flemish region of Europe. This is
especially true in two very well known artworks "The Merode Altarpiece" Fig. 1 and "The Portrait
of Giovanni Arnolfini and his Wife" Fig. 2 by Jan van Eyck. In particular, "The Merode Altarpiece"
is the poster child for hidden symbols due to the number of symbols throughout the work.
Throughout this piece, there are constant signs of symbolism. A few of the examples of symbolism
throughout this triptych are; the window panes symbolize Mary's virginity, the wine holder is a
symbol of wine for the Eucharist, the vase of lilies are yet another symbol of Mary's virginity also
including many others (REVEL 19.3). While in Jan Van Eyck's "Arnolfini Portrait" the symbolism is
a bit more suited to show the wealth of the patron. Van Eyck shows the wealth of his patron so
efficiently in his oil on panel painting through the elegant drapery, the dog which could also be a
sign of fidelity, the clogs as traditional wedding gifts, and the chandelier. These artists are trying to
convey a sense of religion being close to home at a time when the religious was alien to them,
human in flesh but not in actions or

Rembrandt Self Portrait Analysis
1. Rembrandt Self Portrait with a Wide–Brimmed Hat 1632
In the Baroque period, artists started to depict themselves as the main subject matter more often.
Rembrandt had painted a lot of self–portraits in his entire life. In his self–portrait did in 1632,
Rembrandt is the focus and he is dressed fashionably. Like most of the self–portraits in Baroque, he
only painted his upper body so his face can be seen clearly. At the age of 26, Rembrandt showed a
sense of youth and pride in his gaze. The painting is done in a realistic way which the details of
clothing can be seen clearly. Back in the time when camera did not exist, painting is the only way to
capture the world in graphics. Self–portrait is the record of a person's physical appearance. At that
period, self–portrait was not only appreciated as art but also a record of the people and the society.
2. Van Gogh Self–Portrait with Bandaged Ear 1889
At the 19th century, the invention of camera has provided an easier and faster way to keep records.
The function of realistic painting had been replaced. ... Show more content on Helpwriting.net ...
Under her brushstrokes, raw emotions are shown in the portrait. In Beyond Grief, Busschers showed
her fragile and delicate side. There are tears in her eyes and blood vessels on her face. From her
gaze, viewers can feel her sadness. She seems to have just gone through an emotional break down
but at the same time she looks peaceful. Looking into her eyes, she is like staring at something far
away, something that she cannot reach. The painting is painted realistically yet different from the
style of Baroque. Busschers's work is so real in a way that it can trigger viewers' emotions. Through
her self–portrait, viewers can feel a sense of connection with the artist and have their own
interpretation on the story behind each

Comparing The Painting 'Giovanni Arnolfini And His Bride'
The painting Giovanni Arnolfini and His Bride was painted by Jan van Eyck. Shown in this painting
is a man and woman who are to be married. What makes this piece of art special, beyond the talent
of Jan van Eyck, is the amount of symbolism depicted. Every object is painted with care, and is
intended to show the holiness of matrimony. This includes the pair of clogs which symbolized a
sacred event, a dog that was a symbol of fidelity, a burning candle and a mirror that symbolize the
all–seeing eye of God, and a small statue of Saint Margaret the patron saint of childbirth. Many if
the objects in the painting were from traditional Flemish customs, and it shows some Flemish
marriage practices, such as one lit candle in the chandelier. Even the placement of the couple is
symbolic. The man is placed near an open window, which represents the world, and the woman is
next to the bed, which may indicate the woman's place is at home bearing children. ... Show more
content on Helpwriting.net ...
Many things would differ depending on who was being painted. The United States is home to many
people of different races, cultures, and religions. Every culture and religion has its own traditions, as
does each individual family. This makes it somewhat difficult to say what exactly would be seen in a
modern day Giovanni Arnolfini and His Bride. But, assuming it is for an American couple with the
desire to have a modern Western wedding that is steeped in tradition, and a twenty–first century
marriage, the painting might look like

Holbein's Portrait Of George Gisze Analysis
Based on this week's assigned chapter, West, "Introduction," answer these questions.
1. What does West say about the space in Holbein's portrait of George Gisze? What is in the space
and what is the contradiction she sees between the things and the figure?
Holbein's portrait is one that contains many contradictions. The composition is somewhat confusing,
for it is a meticulously detailed painting; yet, the painting is riddled with perspectival
impossibilities. The space surrounding Gisze is cluttered with objects that look entirely out of place
in the portrait. These objects, so carefully rendered, are at odds with each other, and the surrounding
area. The sitter is depicted in a most uncomfortable manner; each part of his body is oddly
positioned. ... Show more content on Helpwriting.net ...
Most often, the function of the portrait determined the status of portraits. For instance, when a
portrait was a likeness of an important historical figure, it was thought to be of higher status. If a
portrait was of a funerary nature, its status would probably be considered to be lower because its
subject could be considered to be of less importance. During the Renaissance and the years that
followed, the portrait's status became less highly regarded as this led to a democratization of
portraits. Before this, it was far less common for those with low income or rank to be able to sit for a
portrait. As artists began to focus on simply being portraitists, it allowed for more people to be able
to have their portraits

The During The Dutch Golden Age
Portraiture During The Dutch Golden Age
The 17th century was a very successful period for the Dutch Republic, as the golden age started,
trading has increased, exploration was at its peak, and merchants were becoming very wealthy and
powerful. At this time paintings were a form of communication to express power, value, and social
class. During the golden age Dutch artists have specialized and master the genre of still life,
portraiture, scene's of everyday life, and landscape painting. Middle–class merchants and wealthy
people were the driving force for the demand of art, because "luxury was associated with power"
(De Vries). As a result people wanted to express through art their power and wealth in paintings.
Furthermore, paintings also let painters express the current fashion and luxurious lives of people.
Even though everyone interprets a painting in a very different way, portraits from the Dutch golden
age usually emphasized a certain predominant value in its paintings. Portraiture, from the Dutch
golden age, mainly focused on emphasizing, pride, power, prosperity, and idealism in its paintings.
During the 17th century, as the Dutch golden age was thriving the trading and collecting of artwork
has gained interest in people. More middle–class citizens were in larger cities for easy access to
merchandise. It was a time where Dutch trade, science, warfare, and art were the most well known
around the world. During the golden age one of the main luxury items was art, more

Tehuana Self Portrait
Portraits are some of the most common paintings within the art community, as long as people have
made art there have been portraits. For the first few thousand years, portraits, whether drawn,
painted or sculpted, were typically reserved for those deemed important enough to be honored with
a work of art bearing their likeness. This thought still rains true, but the consideration of those
named important enough has then shifted. Along with that the meaning of a portrait has changed to
become more complex at first glance. Frida Kahlo, Tehuana Self Portrait, 1940 and Francois
Boucher, Madame de Pompadour, 1750 are two portraits that offer a story within the painting itself,
suggesting more than just a wealthy persons elaborate lifestyle, transforming ... Show more content
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This painting about the process of applying make–up at the mistress's vanity conveying a pure
young woman. The lace and pink ribbons along the chest of her dress create an almost architectural
quality, being able to see the weight and stiffness that they create. The subtle focus on the cameo on
her wrist being a portrait of her lover, King Louis XV contrasted with that the size of her eyes
compared to her mouth transforms her into a childlike state. The painting provides a sense of
mirroring. Even though Madame de Pompadour has a mirror placed in front of her, she turns her
body facing towards us with an expression of intended innocence.
The two portraits tell a similar story of the women's past lovers. Frida's self–portrait being much
clearer that there is more to the painting than just she, Boucher's is more indirect that the viewer
may miss the meaning by glancing over it. By the artist imbedding these practices the portraits
become a story one must analysis and dissect, by looking at the subjects using ones period eye.
Transforming the tradition outlook many have on portrait

How Did Sargent Became An Artist
Following the tremendous fame that Sargent had achieved, he grew tired of the demands of his
patrons and decided to close his portrait studio. Portraiture involves a great deal of interaction
between sitter and artist, and Sargent particularly disliked this aspect of portrait painting, stating that
it was a "nuisance" to have "to entertain the sitter and to look happy." By leaving portraits behind,
Sargent was provided with the opportunity to concentrate on different genres of art, as well as some
new techniques, and the drastic change in his focus provided an entirely new range of expression.
The art that he produced later in his career is some of the most intriguing. Finally, Sargent could
experiment more freely. Moreover, after decades of attempting to please others, he was finally
unrestrained in creating art for his own enjoyment. This did not mean that he entirely stopped
making portraits, but it did significantly reduce the number of portraits he produced in his later
years. Among the most celebrated works of his later career are his Biblical murals in The Boston ...
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He was still in contact with Isabella Stewart Gardner, and helped to advise her as to which works of
art to secure for her own collection, which has now become a renowned gallery in Boston.
Traditional to the end, Sargent persisted in his methods of representation, unabashedly receiving
criticism for not altering his art to match the changing times. His very last painted portrait of Grace
Elvina, Marchioness Curzon of Kedleston displays the newest fashions of the year it was painted,
1925, through the gown and hair of the subject (Fig. 19). Aside from the apparel of the sitter, there is
nothing about this portrait that indicates the time in which it was created. Instead, it exhibits the
style of an artist whose work was only defined by the inclinations of the

Who Is Kehinde Wiley?
Kehinde Wiley's large–scale, brightly colored, highly patterned portraits of African American
subjects are a salute to traditional portraiture as well as a critique of the art historical focus on the
privileged male Caucasian. The artist scouts out ordinary black men of ages 18 to 25 from urban
settings to copy poses from works by master Western painters like Titian and Jean–Auguste–
Dominique Ingres. The photographs of their poses become Wiley's references for his enormous,
dazzlingly vibrant portraits. The extreme realism of the figure combined with intense color use,
decorative patterning, and larger–than–life scale all emphasize the extravagant grandeur of power
and male dominance. Wiley has radically shifted the paradigm to make a contemporary statement
about the long absence of the black male figure in historical portraiture. Wiley was born in 1977 in
crime–laden South Central, Los Angeles, and was enrolled in weekend art classes at California
State, Los Angeles, by his mother to keep him away from neighborhood dangers. He later received
his bachelor's degree in 1999 at the San Francisco Art Institute, and then a master's degree in 2001 at
Yale. His first artist residency at the Studio Museum in Harlem began his practice of street casting
black men with attitudes of self–confidence. The casting for his work has spread internationally with
his latest body of paintings, The World Stage, to locations such as China, Lagos and Dakar, Brazil,
India and Sri Lanka, Israel,

An American Portrait Photographer, Philippe Halsman
An American portrait photographer, Philippe Halsman, in the mid 1900's once said, "A true portrait
should, today and a hundred years from today, the Testimony of how this person looked and what
kind of human being he was." He provides a good point, as he gives his opinion that portraits are a
representation of an individual, to show the memory of their soul through artwork even if it's
photographs, paintings, drawings, or sculptures. Whether it is to remember the past or present,
portraits tell their own story in a moment of time through the frame of the artistic eye. Portraits
consist of many underlying layers that are exposed by the artist to mesmerize the viewer to the
unique personality of an individual by the style of the portrait, ... Show more content on
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For example, Yousuf Karsh characterizes Muhammad Ali (plate 1) through a powerful photograph,
not only as an individual but an American hero who shows power and strength. When looking at the
image the most apparent form is his face and the emotion that is being expressed. While Ali's head is
turned at forty–five degrees, he remains to have eye contact with the viewers, which means he is not
afraid to show the world who he is and how he wants to be represented. Furthermore, the bold
stance of his fists carefully placed on his hips and his shoulders slightly forward exemplifies his
fearlessness and confidence that he has in himself and that many others who chant his name know
him to be. While Karsh identifies a more serious approach to a portrait that captures what
Muhammad Ali stood for, there are also more whimsical ways to apprehend the narration of a
person. Gwenn Seemel is one amazing artist that truly captures the essence of a person and makes
them come alive on the canvas. During the course of an hour long interview, Seemel takes hundreds
of photos while her subject spills his or her whole life's story. In a video about her artwork and the
process that goes with it she states, "Portraits should not be a still thing." While portraits are often a
two dimensional representation of an individual, their spirit is conveyed by the sitter's facial
expression and the style in which the artist wants to convey their personality. In a portrait of a young
girl named Lily (plate

Biography Of Cecilia Beaux
Cecilia Beaux was born in Philadelphia, Pennsylvania as the youngest daughter to Jean Adolphe
Beaux and Cecilia Kent Leavitt. After her mom died and their dad left for France, Cecilia and her
sister, Elta, were raised by their grandparents and aunts (NMWA, 1). Beaux's interest in art started at
a young age when she was encouraged at home and in school to take up art. Her and her uncle
would visit the Pennsylvania Academy of the Fine Arts where she had her first major exposure to art
(Carter, 25). When she attended school, Beaux was unable to afford the art fee, so she began art
lessons with her relative, Catherine Ann Drinker. Drinker was an accomplished artist at this time and
became Beaux's role model throughout the time they studied together. After having lessons with
Drinker, Beaux studied with Francis Adolf Van der Wielen and then eventually took over his post
and was appointed as a drawing teacher (Carter, 37). She was mainly doing lithographs at this time
for Thomas Sinclair, a Philadelphia printer. Under the influence of Thomas Eakins, in 1876 she
started attending the Pennsylvania Academy of the Fine Arts (carter, 54). After leaving PAFA, Beaux
continued to study with more people and eventually moved to France to expand her horizons even
though she was doing so well in Philadelphia. This is when Beaux decided to devote herself to
portraiture. She eventually moved back to Philadelphia and painted many prominent members of
society, such as writers, politicians, and other artists (NMWA, 1). At the peak of her portrait career is
when she painted Seated Girl in a Long Black Dress. She painted this piece in 1885 which was the
same year that she won the Mary Smith Prize at the Pennsylvania Academy of the Fine Arts
exhibitions (NMWA, 1). Beaux was so well known for her portraits and was commissioned by many
well–known people. She was one of the most successful portrait artists of her time and received
numerous awards, had her own exhibit, and published her autobiography (NMWA, 1). Beaux
received the Chi Omega fraternity's gold medal, for "the American woman who had the made the
greatest contribution to the culture of the world" from First Lady Eleanor Roosevelt (NMWA, 1).
Cecilia Beaux was considered to best

The Human Expression And Micro Expressions
Photographers Know the Details
Most photographers are more than capable of taking a technically great image. However, teaming up
with a headshot photographer to help with your personal branding is one of the best investments you
can make. We sweat the details:
The human expression and micro–expressions Body language and positioning Finding your best
angles Making sure your clothing, hair and makeup work seamlessly together
It's All About Experience
Check any prior portrait experiences you've had at the door. Our session will be collaborative,
immersive and interactive. You'll even walk away with a few techniques to look your best in any
photo going forward. Head over to Your Session to learn about looks, coaching, ... Show more
Exceptions can be made, but note that the exceptions generally deal with earrings (diamond studs or
less). Our aim is to get a clean, timeless look with a great expression.
Makeup: Begin with a clean palette – cleanse, exfoliate and moisturize your face on the day of our
shoot. Please don't overdo your foundation. Avoid using anything that has SPF protection in it as it'll
make you look washed out under flash photography due to reflected light. Your basic daily use of
mascara (as long as it's not underneath your eyes), blush and shadow should be fine (nothing wild),
and stay away from smoky eyes. Make sure anything that goes on your lips isn't shiny and reflective
– remember, the focus is on your eyes, not your lips that have gone nuclear!
Hair – Women: Please make sure your hair is ready in the way that you would normally like to
present yourself and, if you would like, bring any of your products with you that you may need
during the shoot, including hair ties since there is a chance you will have a ponytail at some point.
We won't change things up much since hair is a personal preference thing, but it never hurts to be a
little prepared.
Hair – Men: There isn't much to go over on this one. All of the points outlined above apply here,
although for those that often bounce between facial hair and clean cut, you might want to have your
razor handy for a switch mid–shoot.
Headshots for Businesses
Company 'About Us' pages are among the most visited on the Internet. Your

Aphrodite Of Liberated Woman Analysis
Portraitures and statuaries have always been a method of self representation, which has played
various roles throughout history. According to Rosemarie Trentinella from the Metropolitan
Museum of Art, Roman portraiture has shifted back and forth between the two styles, realistic and
idealized (Roman Portrait Sculpture: The Stylistic Cycle). In the Republic, military officials would
have portraits taken of them showing every wrinkle and flaw to display their devotion to the public
and valor. Then during the Imperial period, Augustus set a new style in his portraits focusing on
youth, beauty, and good–nature. This style of portraiture was used to place an importance of an
emperor's loyalties to the lineage and establishing their rule by resembling ... Show more content on
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For example, Kim Kardashian's sex tape was released by Vivid Entertainment without her
knowledge four years after it was made. Kim probably did not want racy material of herself
released. According to US weekly, Kim commented, ""You know, I think that's how I was definitely
introduced to the world ... I like to think I'm aware, I'm not naive to that fact," she said of the sex
tape. "It was a negative way, so I thought I really had to work ten times harder for people to see the
real me ... I felt humiliated, I felt like: Why would anyone put that humiliation on their family like
that?" (Sensational New Book Claims Kris Jenner Leaked Kim Kardashian's 2003 Sex Tape With
Ray J). In other words, Kim did not want to become famous based on a negative image like that and
felt humiliated because of this release. With social media, we typically cannot control what is
posted. If someone has an embarrassing photo of you and posts it, we cannot take down the image
unless that person who posted it, deletes the image. Also, with all the cameras we have available to
us from our smartphones, anyone could snap a picture at anytime and have it posted instantly
afterwards, which is probably how magazines get their material. In today's society, people do not get
to choose what people see and how they see

Analysis Of Nancy Parsons In Turkish Dress Portrait
Oftentimes, portraits are mistakenly believed to be objective representations of their subjects by the
uninformed viewer. Thus, portraits are thought to simply depict the exact likeness of their sitters. In
reality, however, they reveal much more than just the physical appearance of their figures. Portraits
can, and usually do, convey a significant amount of information about their subjects, such as their
wealth, social status, marital status, and moral virtue. Through the use of visual features like
garments, props, and pose, portraits also tend to ascribe these attributes to their sitters, whether or
not such characteristics are accurate. George Willison's Nancy Parsons in Turkish Dress (1771)
painting provides an excellent example that portraits are not merely records of how their sitters
looked. With a thorough analysis of the portrait, multiple implied messages about Ms. Parsons are
exposed. The Nancy Parsons in Turkish Dress portrait illustrates her profession as a courtesan,
wealth and social status, and conformity to the contemporary conventions of femininity. Notorious
for engaging in many intimate relationships with aristocratic men of all ranks and ages, such as
Duke of Grafton, Duke of Dorset, and Viscount Maynard, Nancy Parsons wishes to emphasize these
aspects of her identity in the painting to preserve her public self–image from further scandalous
claims. In Nancy Parsons in Turkish Dress, the artist portrays his female model in a domestic
interior. She

Painting Portraiture In The Whirlwind By Paul Wright
Painting portraiture will become obsolete when the time arrives that photographers will have learned
something about portraiture in its deeper sense..." –Alfred Stieglitz. Keeping a memory of someone
was not easy during the Enlightment era as it is today. Individuals now keep thousands of images
and photographs for important and unimportant events to mark them, while the expenses of having a
portrait painting during early ages was sometimes unaffordable. However, painting portraiture did
not become obsolete even with the immerse use of photography. Paul Wright a contemporary artist
who painted the Whirlwind has proved Stieglitz wrong as portrait paintings still have their
significance, but with a different context and meaning than those of the early ages. Giovanni
Arnoflini and his Bride for Jan van Eyck and the Whirlwind for Paul Wright are two portraits that
open the doors for a comparison of painting portraiture during the early ages and ... Show more
The painting is still being interpreted differently, however one of the interpretations is that the
portrait is painted to keep a memory of the wife since many wives died after giving birth at the time.
The wife is thought to be pregnant and so a memory of the wife with her husband seemed to be
necessary. The couples were of an upper middle class which were able to afford to pay the artist for
a portrait and the details of the era were also described in the painting. The clothing, the furniture,
religious figures that are present in the mirror for instance give an idea of the important details
considered at that ear. Jan van Eyck in other words, used the portrait to describe the couples, to keep
a memory of them, and described significant details of that era. He visualized how an upper class
family usually is in terms of their houses and clothing. Moreover, the artist uses lightening and
shades to emphasize more on the painting and to make it as real as

Analysis Of Jan Van Eyck 's ' The Wedding Portrait '
Jan Van Eyck began his career as an artist in 1422 and continued until his death in 1441. While Van
Eyck was active, he created many well–known paintings. According to John Haber, Van Eyck was a
portraitist who was the first to paint in oils (pg.1). One of his most famous works is Wedding
Portrait, or Giovanni Arnolfini and His Bride. This painting depicts a man and a woman holding
hands in matrimony with many symbolic objects surrounding them. The painting was created in
1434 and currently resides at the National Gallery in London. Haber states that The Wedding
Portrait, "confront us with a reconstruction rather than a mere representation of the visible world"
(pg.1). Haber's quote shows how that The Wedding Portrait has a complex ... Show more content on
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Then he used the chandelier, curtains, and other accessories to bring visual pleasure to the viewer.
The objects in the painting are easily identifiable, so Van Eyck most likely used contour lines. He
also most likely used a multipoint perspective, because he gave the image a dramatic emphasis. He
drew the room dark with only the light from the window coming in. This can be seen as if God is
shining his light on their marriage, thus creating a dramatic effect. These elements found in the
painting can give the viewer a deeper understanding behind the complex meaning of Jan Van Eyck's
Wedding Portrait. Jan Van Eyck used composition throughout the work to give the viewer a better
understanding of the painting. As show in Figure 1, Wedding Portrait, an asymmetrical balance is
used in the painting. This means that if the painting were to be cut in half, it would not mirror or
reflect itself. There is no rhythm present in Wedding Portrait, because there is no repetition of
elements. In Figure 1, nothing seems to be out of proportion or scaled to a different size. The
painting does seem to have emphasis and accents, and unity throughout the work. The emphasis in
the painting are Giovanni Arnolfini and his wife, because as show in Figure 1, they are in the front
of the painting to show that they are the main focal point. The accents in art, are the lesser focal
points of the painting. In Wedding Portrait

Abraham De Vries Double Portraits
Portrait painting thrived in the Netherlands with the increase in production driven by interest in the
idea of personhood and the definition of the individual self. Portraits help document the
development of a personal identity as it connects factors like marital status, class, and profession. A
common portrait genre produced during the seventeenth century portrays their subjects with an
impassive demeanor with little vigor. At first, these paintings may be evaluated as lacking
"personality" or "characterization" due to the artist's lack of talent. However, this is rarely the case.
In trying to understand Dutch portraiture, it is important to identify what type of functions they
serve. Abraham de Vries' Double Portrait functions not only as recording of his sitters' faces but also
as a signifier of the cultural, social and philosophical ideas of the time.
Abraham de Vries' Double Portrait depicts a man and a woman sitting at a table. The woman looks
up from her reading while the man turns in his chair. Both of them look out of the frame into the
viewer's space. There is a calm, unified axis of the head and the body for both ... Show more content
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Their close proximity does not translate into a sense of togetherness. Unlike Frans Hals Marriage
Portrait of Isaac Massa and Beatrix van der Laen, there is no intimacy found within the gesture of de
Vries' couple. The casual poses and smiles that Isaac and Beatrix share are not present in de Vries'
couple. Hals' light hearted attitude has also been replaced with a meditative state. This does not
mean the couple has no relationship to each other. Instead of their bond hinging on physical touches,
their spiritual connections are emphasized. The Bible symbolizes the spiritual side and by having
both figures touch it, it shows their connection through religion. The fact that the Bible is the only
thing on the table also highlights this

The Symbolism Of Arnolfini's Wedding
Arnolfini's Marriage
Jan van Eyck was "one of the greatest and most influential Flemish painters of altarpieces and
portraits of the 1400's" (Hayes). van Eyck's paintings often include objects with hidden symbolic
meaning. There are several different interpretations of the symbolic meaning concerning his portrait
of Giovanni Arnolfini and his second bride often referred to as "The Arnolfini Marriage". Marriage
is a sacred union between man and woman. A wedding is one of the most important events in a
woman's life. Often a wedding occurs in the present of the wedding party, family members and
friends. During the 1400's a wedding ceremony was performed in the privacy of the home. van Eyck
was hired to paint a portrait of this marriage ... Show more content on Helpwriting.net ...
Arnolfini and his bride are not wearing any shoes. This symbolizes the floor is considered holy
ground or the sanctity of marriage (Pioch). Some art historians claim the shoes do not have a
symbolic meaning. Dog were considered a symbol of devotion and love so often they were included
in portraits of a married couple. van Eyck painted the mirror as a reflection of the witnesses present
for the wedding. Which includes "van Eyck's own tiny self–portrait" (Pioch). His signature on the
painting reads "Jan van Eyck was present", this has been interpreted by some historians as an
indication that he served as a witness" (Pioch).
If the "Arnolfini's Marriage" had taken place during the 1900's it would have been very easy for an
artist to include every single detail of the wedding. Because the wedding took place during the
1400's, all we can do is assume or use our best judgment to interpret the true meaning of each
symbol in the portrait. We can all at least agree van Eyck was the artist that painted this portrait.
Then again some historians say his brother Hubert was the artist. (Kren)
Works Cited
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. New York: Mod. Lang. Assn.,
1999.
Hayes, Rae–Anne and Klein, Amy. "Arnolfini Portrait Also Known As The Arnolfini Marriage" 13
May 2002. Kren, Emil, and Marx, Daniel. Portrait of Giovanni Arnolfini and his Wife" Web Gallery
of Art 13 May 2002.

The Arnolfini Portrait: How Art Has Changed The Renaissance
Art that changed the Renaissance During the renaissance period, art started to take a new leap in
style. The faces on people stared to become more realistic, and painting had more detail. One of
these astonishing pieces of art is the Arnolfini Portrait. A painter from the Netherlands, named Jan
Van Eyck, created the Arnolfini Portrait. This piece of art was painted in 1434 on an oak panel. Two
figures are in a room; they are richly dressed and holding hands showing sings of wealth. The
interior of the room has a large brass chandelier hanging from the room along with oranges on the
windowsill to show wealth as well. If you look closer in the back of the room you will see a convex
mirror with writing above it. In the mirror you can see the detail of the backsides of the two figures
and some of the room. The detail on this mirror is astonishing. Now if you look above the mirror
you will see the writing "Johannes de eyck fuit hic"; which means Jan Van Eyck was here. This is
one of the best details paintings of the renaissance. The next painting the changed the art world is
called the Mona Lisa. ... Show more content on Helpwriting.net ...
This oil painting on poplar wood was done by the Italian painter, draftsman, sculptor, architect, and
engineer Leonardo da Vinci around 1503 and 1506. Leonardo da Vinci painted the magnificent
artwork when he was living in Florence. This painting has a woman siting down in front of a
landscape background with her hands crossed. If you look closely you can see the great detail in her
hands and face, and you will also see that smile that she is famous for. It is said that Leonardo put
the mystery smile on Mona Lisa to show the idea of happiness to the world. The true identity of the
woman pictured in the portrait remains unknown. But many believe the Mona Lisa to be a portrait of
Lisa Gherardini Giocondo, the wife of a wealthy Florentine

Compare And Contrast The Oath Of The Horatii
Compare and Contrast Essay In the scope of this paper two works of art would be compared and
contrasted – David's Oath of the Horatii and Painting of Giovanni Arnolfini and His Bride by Van
Eyck. The first painting – Oath of the Horatii has been painted in Rome in the Neo–Classical style.
This paining is referred as one of the best known works of art, which has been produced by this
artist of style of eclectic. In the scientific literature, the painting is referred as the representation of
the new school of art, which is mainly grounded on the fervent investigation of antique and a
returning to classical techniques, used in the timeframe of the late 18th century. This painting (oil on
canvas) was completed in 1785. It is possible to make ... Show more content on Helpwriting.net ...
The background plot for the painting was borrowed from the Corneille's play, Horace. The
approximate symmetry of the painting becomes more prominent in the case when the viewer knows
the story of the Corneille's play. It is essential to refer to the fact that there is a difference between
the right and left sides not only in terms of physical composition, but more than that, various
emotional connotations are depicted by each ones. The "Giovanni Arnolfini and his Bride" (1434)
by Jan van Eyck is also known as The Arnolfini Marriage, The Arnolfini Wedding among other
titles. This painting is referred as one of the more complex and original paintings of the Western art
due to the fact of the unusual geometric–orthogonal perspective (in contrast to the case of the Oath
of the Horatii), iconography and the use of mirror for reflecting the space. It is essential to put an
emphasis on the fact that the art historians consider this portrait as a unique one because it is the
form of a painting, which depicts the record of a

The Arnolfini Wedding
Do you wonder what "The Arnolfini Wedding" is? I looked at different views of this painting. In the
end I found interesting things about this oil painting. This painting will show many different forms
of viewing it. Also, it will show what the artist was thinking, and why he was thinking it. I will go
into detail about how oil painting came to be a form of art and why the artist showed this in his
paintings.
When thinking about art people think it's only about paintings with normal colors and paints. Well,
they would be wrong. not only are there several different types of art but also different types of
paintings. Today I will show you the light into the world of Oil Paintings. Oil painting is the process
of painting with pigments with a ... Show more content on Helpwriting.net ...
The Arnolfini Wedding by Jan van Eyck caught my eye the very first time I saw it and it's hard to
take my eyes off of it. Some history behind it. A lot of people call the Arnolfini Wedding oil painting
the most Easter Egg–y painting. People believe that this oil painting shows an Italian merchant with
his wife. Is this what it really shows or is there something else hiding in the painting. With Arnolfini
wearing one of the "pimpest" hats in the history of pimping which is very hard to capture. Looking
at this painting it is easy to dismiss this the portrait. Saying it is only another piece of old art which
features dead rich people. When you look into the mirror it appears that two people are standing in
the room in front of the Aenolfinis. One of them allegedly to be a self–portrait of van Eyck. So,
when you look at a piece of art you should look at it a second time. Look to see if there is meaning
behind the painting. In such instance look past the people and look at the small details you will see
the meaning behind the picture. The artist wanted people to look deep into the painting to find the
meaning. Many people think that Jon van Eyck used a magnifying glass to paint small details in the
mirror. Therefore they call it an Easter egg. unless you look close enough at the picture most people
can't see these details. He had created one of the first Easter Eggs in art

Diane Arbus Identical Twins
The photo shown above one of Diane Arbus's most recognizable images "Identical Twins" taken in
1967 is a portrait of two twin sisters. The irony in this photo and creativity within is by putting these
two identical sisters together in the same frame, we begin to notice everything that is different
between them. The outfits of both sisters are identical wearing dark corduroy dresses with white
collars and cuff, even their white tights and white headbands, used to give them identical hair styles
(Nikolova). Putting these two in the same frame with the same exact pose with their hands down by
their waists, it is obvious their similarities are supposed to be emphasized. As a common Diane
Arbus photograph, it is confrontational in the way the subjects ... Show more content on
Helpwriting.net ...
Being one of the first photographers to experiment outside of the norm and let her own creativity
consume her. She was able to, through her own search of who she was and what it really meant to be
alive and not secluded and protected from the worlds evils, open societies eyes, whether they
wanted it or not. With her photos of the "monsters" and "weird subject matters" she was able to
portray them in her signature way, they had such a natural look on their face. She was able to create
a connection with these people; they felt comfortable and were able to look into the camera with no
precaution, and no insecurities. They were proud of who they are, they had nothing to hide. The
transvestite on page 3 had no worries what so ever, he was accepting of himself and that's what
matters. No matter at her time it was a bit more difficult to open the people's eyes to differences
such as sexuality , and the acceptance of people who suffer from different diseases that signal them
out she was able to do so. She was also able to influence the people of today even stronger. In 2014
it is crazy to think that we are still having debates over rights of gay marriages and we are still being
racist and prejudice to people who look or behave differently than us. Why are we still debating
whether a man can marry another man, or a woman can marry another woman? Why is it that some
states refuse to

The Arnolfini Wedding Portrait: Interpretations
Jan van Eyck's work, The Arnolfini Portrait, is a famous piece of Flemish portraiture with a lively
history of interpretation (Hall xviii). Most interpretations of the work hinge upon the symbolism
found in the iconography of the work, while others rely upon the presumption that the work is
nothing but masterfully rendered naturalism, while still others apply various modern art history
methodologies. In this paper I will provide a brief survey of the leading interpretations and methods
that have been applied to the Arnolfini Portrait.
One cannot review the analysis and historiography of the Arnolfini Portrait without encountering
some sort of rehearsal of Erwin Panofsky's reading of the work in his book Early Netherlandish
Painting. ... Show more content on Helpwriting.net ...
Before Panofsky, even the National Gallery of London, the home of the work, was uncertain as to
the subject of the portrait. Panofsky's interpretation rests in part on the inscription above the mirror
behind the couple, which says "Johannes de Eyck fuit hic," or "Jan van Eyck was here". Because of
the stylized scripts and the assertion that the artist who painted the wedding was present to it,
Panofsky and others have made the argument that the work is nothing less than a signed, notarized
wedding portrait (Farber).
Besides allegorical interpretations, some scholars have pointed to naturalism as the prime window
through which this work should be viewed. This view sees van Eyck as attempting to depict the
scene completely naturally, or in all of its total, unembellished glory. For example, Carrier quotes
Ludwig Baldass as saying of the mirror behind the couple: "The convex diminishing mirror is there
in order that the whole of the room may be seen Convex mirrors are always round, for which reason
the roundness in this case is not to be interpreted as a symbol of the world. Stated in another way,
the mirror is there to show everyone the entirety of the event, including the witnesses, leaving no
allegorical description necessary. The same naturalism

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
Helpwriting.net ...
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

Essay on Differences between Photographic and Painted...
Differences between Photographic and Painted Portraiture
In this essay I hope to define some of the fundamental differences between the above two methods. I
will discuss the advantages and disadvantages of each as vehicles of portraiture. However, this is a
very wide question and though it has great scope for deeper analysis, lack of words and space has
prevented me from exploring each point in more detail here.
When addressing this subject, I feel it is very important to recognise that artists have very different
objectives when creating a portrait.
For some, a portrait may simply be a study of physical likeness whereas for others it may be a study
of the sitter's character, their inner personality. This distinction makes ... Show more content on
Helpwriting.net ...
This impersonal aspect that photography can arouse has also raised qualms amongst artists, the issue
being that we cannot see the artist's mark on a photograph in the same way that we can on a painted
portrait. In a painting people like to appreciate and admire the way the painter has applied his/her
medium or the way he/she chooses to depict the effects of light. To an extent, this is pre–assigned to
the photographer.[6] This is a major difference between the two art forms because it brings to our
attention just how much freedom the painter has. The painter's freedom of expression is utilised in
numerous ways, for instance in the size, shape or direction of the brush marks. Bold styles and
techniques in mark–making such as the latter can help bring out the character in a sitter. They can
give off an impression and reveal sides to a person which are not necessarily visible to the naked
eye. Painting can give off an impression of what the sitter's personality is like rather than what they
look like. This is something a photograph cannot achieve with ease. It is bound by the

Analysis Of Rona Goffen And Mary Pardo
Rona Goffen and Mary Pardo both discuss the uses of and responses to Titian's paintings of women.
Goffen focuses on who these women were, their agency, and what can be gleaned for the details of
such paintings to come to a conclusion. Pardo focuses on how Titian's abilities to make paint tactile
relate to the eroticism and sexuality of his art. Both authors bring up ideas of agency and gender in
art and also the importance of understanding these paintings, and their sitters, in their time. Both
Goffen and Pardo view many of Titian's paintings of women to be erotic or sensual and site that as
an important quality of the painting. Pardo discusses the importance of the evocation of emotion for
the success of a painting. It's "Truth" she wrote, was based on this ability to be erotic and create
feelings. The ability to contact the senses of the eye and touch was also a sign of skill attributed
highly to Titian with his use of colors and the rough canvas he preferred. Goffen also discusses the
Renaissance beliefs that women are innately sexual, and that this was not seen as a bad thing. In
fact, to be beautiful is related to being virtuous and so many upper class women wanted their
portraits to portray a sensual nature. Pardo relates this to the paintings uses as decoration or for
personal sexual enticement. While this most definitely could be true, and probably was for many
pictures, she doesn't discuss and point of agency for the women portrayed and may simplify their

The Arnolfini Portrait Symbolism
One of the best Netherlandish Renaissance panel paintings is "The Arnolfini Portrait," by Jan van
Eyck. Painted in 1434 on 3 vertical oak panel boards. Its dimensions are 32.4 inches x 23.6 inches;
panel 33.3 inches x 24.6 inches. It is on display at the National Gallery in London. It is a full length
portrait believed to portray an Italian merchant, Giovanni di Nicolao Arnolfini and his wife. It was
painted in 1434, but the wife in the picture died in 1433 Jan van Eyck applied thin layers of
translucent glazes to intensify both color and tone. The realism of this painting is achieved by
intense colors, variations in shade and light, the look of three dimensional forms, almost perfect
textures, and the use of direct and diffused light. This painting is of a richly dressed couple, in what
might be a reception room, with a bed, chest, and blooming cherry tree outside. The deep symbolism
of many objects found in this painting are reinforced using color, light, and many of the principals
and elements of art.
The use color holds a lot of meaning in this painting, and the use of color reveals very important
symbolism itself. The values of hues were used to symbolize the vast wealth of the two subjects,
from the rich tones of the room to their clothing, but they also mean more than that. The use of
intense green on the woman represents that she was from a family of merchants or high business.
Since the woman was deceased when this paining was done, her bright and rich blue and

The Arnolfini Portrait
The Arnolfini Portrait is a very cleverly composed single picture story. Various singular objects,
depicted within the image, all of which contain an individual meaning/symbol. For example, the
oranges within the painting display the couple's wealth, for such a fruit would have to been imported
during the times the wedding took place and would cost a small fortune to purchase. Two pairs of
wooden shoes can also be seen in the image, one a bright ruby red the same as that of the bedding
and couch symbolizing fertility, the other plain and wooden representing faithfulness. Both, bride
and groom, depicted can be seen with pale skin draped in lavish furs, the bride also displaying a
high forehead and wrapped in a blue underdress. This not only

Jan Van Eyck's Wedding Portrait And The Aztec Marriage Couple
Although they appear vastly different, Jan van Eyck's Wedding Portrait, and the painting of the
Aztec Marriage Couple have several similarities. The obvious similarity the paintings share is
subject matter. They both depict a couple participating in a wedding ceremony. Another similarity
between both works is the depiction of witnesses to the marriage. In van Eyck's work, the
witnesses's reflections can be seen in the mirror in the background of the painting. The Aztec
Marriage Couple shows the witnesses more clearly as the ones surrounding the couple getting
married. The paintings were both most likely used for the same purpose; to document and legalize
the marriages. The differences in the paintings are a bit more obvious than the similarities.

Van Eyck's Arnolfini Portrait: Northern Renaissance
Artifact: Arnolfini Portrait The Arnolfini Portrait was a painting made by Van Eyck, one of the most
significant artists of the Northern Renaissance and the Early Renaissance. This artifact was painted
during the Northern Renaissance and it shows humanism as well as secularism in a plethora of
ways. These two concepts were important during the Renaissance because these concepts dominated
this period since the Renaissance was a time of "rebirth" and it was the revival of art and learning.
During this time people began to focus on human achievement and potential. In addition, people
think in different ways since they began to reduce the amount of time and thought they spent on
religion. They still had faith, but they now lived a life by exploring ... Show more content on
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The man is an Italian Merchant who worked in Burgues, which was a town that thrived
economically in the 15th century. In the painting, a married couple is probably greeting the visitors
that can be seen through the mirror in the back, one of them said to be Van Eyck. In the painting, it
is thought that a sacred event is occurring and much wealth can be seen from their clothing to the
objects in the house or the furnishing. A plethora of attention is given to these two people because of
the way they are dressed in such heavy clothes, perhaps their best winter wear, even though it
appears to be a warmer season because the tree outside the window has fruit on it. Not to mention
that the detail on this portrait is incredible, you can see the small cuts on the robe the woman is
wearing as well as the texture of the lace. In addition, the fur–lined clothing the man is wearing is
seen as soft and thick. Overall, their clothes is fashionable and is not clothing that everyday people
would of had during that period. On the other hand, there are objects around the house that represent
their wealth too such as the chandelier, the oranges, the beautiful, detailed mirror, and the carpet.
The oranges were expensive during the Renaissance and since the oriental carpet was imported from
other places somewhere else, it was expensive and tended to only be seen in kingly places. Finally,
since the mirror had so much detail and it was not easy to make them back then, they were also
expensive. Overall, their wealth is the center in the

Lyuba Enchev Text Analysis
Throughout Lyuba Encheva's text one can understand the evolution of how humans capture the
essence of a moment, feeling, occasion, etc... using visual representations. One can gather that the
self portrait was considered an artistic form of visual representation that proceeded to represent what
is perceived by the person who photographs or paints the portrait and the individual who is
represented.
Furthermore, the "selfie" or digital image seeks to represent a moment of time or fun that does not
prove to be an authentic representation of one self. Moreover, it can be eluded from the text that self
portraits are the art and the selfie or "digital" image is the human need. The text elaborates this
ideology, stating "...digital photography has ... Show more content on Helpwriting.net ...
It was one of many that looks almost identical. It depicts me focusing on the camera, with a simple
gray t–shirt, blond–brown hair, a black choker, with a background of my room. Additionally, The
angle of the camera is down facing upward at me. It is an up close photo that seeks to highlight my
face and my mood. When making an observation of my form of visual representation through self
portrayal I am able to recognize how Encheva's ideologies can be applied to my selfie. Firstly, the
angle of the camera is what sticks out most keenly to me. Encheva states, "the camera height is also
significant: the view from below (low angle) makes the represented subject look imposing and
awesome..." (151). As the taker and point of focus in the photo I am able to elaborate that my
intentions were just as Encheva eluded. It is difficult to admit how important self image is.
Furthermore, this is more than just a photo that I took just to have fro myself as it was a photo that I
soon after posted on Instagram. While I am not one that seeks validation from others it does make
one feel "cool" or is a slight confidence booster if the photo receives a number of likes of

Jan Van Eyck's Arnolfini Double Portrait
In the article "Sexuality and Social Standing In Jan van Eyck's Arnolfini Double Portrait" the author
analyzes the religious and social grammars of marriage. This short paper will be a reflection of
Harbison's article that discusses religious and marital norms throughout, with also analyzing various
sections of van Eyck's piece, for example: implying the piece as a marriage document or contract of
the marriage, which immediately makes the viewer look deeper into the double portrait. All of this
helped me realize that pieces of art are not simply "pictures," rather they are narratives like a scene
in a documentary. The author starts the article with a clear thesis of analyzing the social religious
and marital norms when this piece was made. There are different scenes of this portrait that van
Eyck's uses throughout to identify social standards of the time this piece was done. The fruit is there
to identify the intimacy of marriage. The dog and gargoyles also represent various implications of
religiosities. Going in enormous detail of what everything means. The gargoyles are there to display
deceptiveness in the marriage of the couple's nature as well as being somewhat ... Show more
However, later in the article the author also says the following, "We should thus be wary of the kinds
of compartmentalization we usually employ when faced with intricate problems of interpretation in
this kind of imagery."(41) Consequently using that statement to present an almost changed thesis. I
feel that this statement was hugely important because it changes the entire dynamic of the
conclusion. From that point on it is implied that the author has an open mind of the piece at hand,
while it does show a lot of religious and marital grammars it may also have been an edit of the
director (artist) of this piece to examine how he wanted to tell this families

Comparison of Las Meninas and Arnolfini Double Portrait...
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van
Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during
their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most
talented artists of their respective times. A detailed examination of the details and intricacies of these
artist's respective masterpieces, their similarities, and what sets them apart not just from each other
but from other paintings from their time period and style, will lead the viewer to a better
understanding of the mentalities of these gifted artists and how they transcend their respective
genres and contemporaries to create their own ... Show more content on Helpwriting.net ...
The couple's outfits are thick and even have fur, although the painting suggests that it is spring or
summer, due to the amount of sunlight entering from the window and the fresh oranges (most
oranges are harvest during the spring). The furniture and the drapery is impressive, and the oranges
themselves are rare and are therefore a symbol of wealth. The painting also illustrates the
relationship between the two subjects through various objects. The painting suggests that the
subjects are married. There is a dog in between the couple, which represents loyalty. Both characters
have rings on their ring fingers, which suggests that they are both married. Also, the painting shows
that both characters have removed their shoes, which implies that they are standing on holy ground,
such as Moses was when speaking to god through a burning bush in the bible. The reason they are
on holy ground is because a holy ceremony has taken place, that is, a wedding. Notice the
characters' body language is composed of the dominant husband and the submissive wife. There is
also various references to the newlywed couple's intentions of starting a family. Not only does the
wife's attire exaggerate her belly, making her seem as if she were pregnant, but behind here there is a
statue of Saint Margaret, the saint of childbirth and fertility. When the individual objects of this
painting are viewed as a whole, the message becomes clear. Jan van

Van Eyck The Arnolfini Portrait
The video Van Eyck, The Arnolfini Portrait displays a detailed analysis of the painting The Arnolfini
Portrait. In the video, Dr. Zucker and Dr. Harris discuss all aspects of the painting and their
significance through visual interpretation. Although there is some definite facts about the painting
and information both Dr. Zucker and Dr. Harris have about the time period, most of their
interpretations come from observing all details of the painting. Dr. Zucker and Dr. Harris begin to
examine the painting by stating it is a double portrait of a couple who were already married. The
married couple in this painting represent wealth that can be observed from their clothing and
furniture displayed in the painting. Dr. Harris makes a statement that

Jan Van Eyck Analysis
Introduction
The works of Jan Van Eyck and Jan Vermeer have been long celebrated as pinnacles of Northern
Renaissance and Baroque art respectively. Historians continue to ponder the iconographic messages
within the enigmatic oeuvres of these artists, particularly emphasizing religious symbolism and
hidden meanings. Van Eyck and Vermeer were both products of the rich painting traditions of the
Netherlands in the fifteenth and seventeenth centuries. As a result, their works share both similar
and distinct societal, economic, and religious influences. Although these factors interconnect and
impact each other, religion was Van Eyck's primary focus, while Vermeer emphasized societal
concerns.
Jan Van Eyck
The socio–economic and, particularly, religious overtones ... Show more content on Helpwriting.net
...
Bruges, where Van Eyck spent most of his adult life, became the "financial clearinghouse for all of
northern Europe." The thriving wool and banking industries led to the immigration of bourgeois
patrons, including Giovanni Arnolfini, an agent of the Medici family, who commissioned Van Eyck's
tour de force: the Arnolfini Portrait (Appendix #1). This portrait, with its careful depiction of
material goods and enigmatic religious symbolism, reflects both the wealth of the nation and status
of the Arnolfinis, while emphasising the immense piety of the time. Painted in 1434, Van Eyck
depicted "a comfortable furnished interior, suffused with warm, dim light, [where] Giovanni
Arnolfini and his wife are represented" in the foreground of a richly furnished Flemish bedchamber.
The couple stand grasping hands in marital vows, a sacrament legitimized by the reflection of
witnesses in a convex mirror. The Arnolfinis are opulently attired–the woman in a lavish green
woolen fur–lined cloak and the man in a dark ermine robe and large black hat–reflecting both their
affluence and

The Arnolfini Wedding Essay
Jan van Eyck has been one of the more prominent early Netherlandish painters during his time. He
has had many famous works, however one of his more interesting and questionable pieces is The
Arnolfini Portrait. There is much to be desired in this painting by the great van Eyck. Van Eyck has
been a master painter most of his career, but in this painting he is able to show how his excellent
painting skills can bring this painting to life. The Arnolfini Portrait, which measures 82 × 59.5 cm
(32.3 × 23.4 in) is an oil painting on oak panel dated 1434. This painting is also known by other as
The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portriat, or Giovanni
Arnolfini and his Wife. It is one of the only 15th century ... Show more content on Helpwriting.net
...
It is even speculated that he may have went so far as to use a magnifying glass when working on
these small details to ensure that they were as accurate as possible. This attention to detail has not
only brought the painting to life, but from a researchers point it illustrated just how important this
painting was for van Eyck to paint, and important the Arnolfini wedding may have been to him. It is
said that van Eyck may have included himself in this painting. If you take a look into the far
background reflected in the mirror there is a mysterious man on a turban. This easter egg inside the
painting may have been deliberately placed there for several reasons. Van Eyck may have wanted
the viewer to feel like they were standing with him while he was painting this image if it was indeed
painted on the spot. Or it could simply have been inserted into the scene of the painting that could be
completely fictional.
Van Eyck has precisely placed everything in this painting in certain spots for a reason. He was very
good at leading the viewer's eye in a way that made sense. In this painting the first thing that van
Eyck wanted us to see was the famous mirror in the background so he deliberately placed it right in
the center of the painting. This not only lets you see the whole room but also splits up the two
subjects, Giovanni and his wife. Looking on form the painting to

Jan Van Eyck Arnolfini Wedding Symbolism
Symbolism and the Multiple Meanings in Jan Van Eyck's Arnolfini Wedding Portrait
Throughout the Renaissance, many talented artists tried to express deep symbolism in their
paintings, but no one came close to the ability of Jan Van Eyck. His paintings were so accurate and
realistic that it was necessary for him to paint his miniaturists with a single strand of hair, on a
brush. Jan's Arnolfini Wedding Portrait (1434) is so photo–realistic that it has been debated for
decades of it's legality of a wedding document. This paper will help to understand Jan's extreme use
of symbolisms and the multiple meanings of his Arnolfini wedding scene. Today it is almost
impossible to prove that this painting was an official wedding document. ... Show more content on
Helpwriting.net ...
When getting into bed, most people take off their shoes, as seen on the floor in front of Arnolfini
(figure 7). Those shoes are not shoes of a working class woman but shoes of wealth. There is a dog
on the floor towards the bottom of the painting (figure 8). This isn't a normal dog but a fancy lap
dog that only the rich would have owned. The dog also represents fidelity or in other words
Arnolfini's faithfulness of his marriage. Giovanni Arnolfini is the male on the left and Giovanna
Cenami is the female on the right. The couple's lifestyle is symbolized by their material goods and
posture. There is a convex mirror on the back wall that has tiny scenes of Christ's passion around it
(figure 4). These small scenes would depict the couples love for Christianity. Jan would also make
the scenes so obviously small so that the viewer would be intrigued and reminded of their faith.
There are also prayer beads to the left of the convex mirror and they would also depict Christianity
(figure 3). Like most of the painting of this time, religion played a huge role and if Jan wanted the
church to support this painting he would have been forced to add religion to the painting. Arnolfini
was a brilliant cloth merchant and was born around 1400ad. He resided in Bruges and died in 1472.
Arnolfini was closely tied to the court of Burgundy. Because of guild rules, Jan was only allowed to
work with and for people

The Portrait Statue Augustus Of Prima Porta, Cleopatra
Portraiture is an old art form that dates back to ancient Egypt where it gained popularity five
thousand years before. A portrait is a sculpture, painting, drawing, or engraving of a person that
usually only depicts the head or head and shoulders. Before photography was invented a sculptured,
painted, or drawn portrait was the most common way to document someones appearance. Besides
recording a persons looks portraiture was used to portray the subjects beauty, importance, power,
virtue, wealth, and taste. You can see these ideals reflected in the Augusta of Prima Porta, Cleopatra,
and the Parthian Prince. The portrait statue Augustus of Prima Porta portrays Augustus in battle gear
with his hand raised upward as if he's commanding his troops. Augustus' portrait statue is wearing a
muscle cuirass breastplate ... Show more content on Helpwriting.net ...
On Augustus' left side baby Cupid is riding a dolphin. Cupid was the son of the love goddess Venus,
his purpose was to shoot arrows through lovers hearts and make them fall In love. The dolphin was
one of Venus' sacred animals. This portrait statue of Augustus is meant to shows Augustus as a
powerful military leader and conqueror. Like Polykleitos' Doryphoros, the empire is portrayed in
youthful, masculine way despite the fact that he was middle aged when the statue was created. This
to Polykleitos' work connects Augustus to Ancient Greece's Golden Age. Persian nationalism was
reestablished by then end of the second century. The images placed on Persian coins tell us that
Parthian rulers were wearing their traditional clothing which included pants and a v cut jacket. The
Parthian Prince portrait statue is six foot two inches tall and is cast in hollow bronze, the Parthian
Prince was possibly discovered inside a fire temple in the Bakhtiari region of Khuzestan. The prince
wears a rounded haircut topped with a crown of banded fillet or

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),

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