broom, converge on a point in the room in the foreground, above the chair. Vermeer thus momentarily obstructs our gaze as it attempts to focus on the scene in the rear. The broom has the same function, as do the wooden shoes which obstruct the access between the two rooms. The fact that it is difficult for our gaze to penetrate to the figures at the rear makes us feel like intruders in an intimacy to which we have not been invited. In this sense, this painting summarizes a key aspect of all interior painting, the pleasure arising from the possibility of looking in on the private life of others. Genteleschi self portrait: The painting demonstrates rare feminist themes from a time when women seldom held jobs, let alone were well known for them. Gentileschi’s portrayal of herself as the epitome of the arts was a bold statement to make for the period. The composition of the painting mirrors other artworks of the time, using diagonal lines to flaunt the female figure and emphasize her movement both in toward the canvas
and out towards the viewers. The use of foreshortening and other three-dimensional techniques not only demonstrate Gentileschi’s talent as an artist, but also bring the viewers into the painting on physical and emotional levels. The light is clearly coming from the left, but the source is not visible and is unusually harsh. The front of Gentileschi’s body is lit perfectly, but her back is obscured. Across the forehead and cheeks and down the side of the neck and left shoulder a clear line separates the light from the dark, a chiaroscuro technique which was used frequently during the Baroque era to add a sense of drama. Poussin: Echo and Narcissus Poussin has multiple figures and a background. Emphasis on classical body and clothing. Circular form in both (mirror image and the 3 characters). Observer. Paragonia, competition between sculpture and painting by showing the rough stone, character shown to be transforming into flower, shows nude idealized male body which connects to sculpture, Poussin: echo is punished by juno and her punishment is she can only return the last word of a phrase. Jan Van eyck Arnolfini: relatively small painting, drawing us into looking closely into detail. Testimony to his marriage, Arnolfini is on the side of the window and is connected to the outside world and the woman is close to the bed and near the homely objects. Man is on the right side because it is associated with the saved in the Last Judgment. Chandelier is shown with detail of serrated character, inscription on back wall, urges us to look at the wall, signs the work on the wall, painting has a character of a document (marriage, marriage to come) the paintings status as a document conveyed by the inscription. Mirror highlights artists skill, in the reflection we see figures from the back, shows two figures one red one blue, maybe the artist himself, mirror is convex, repeat the window in the mirror reflection. Mirror create a vanishing point, tail of the dog overlaps the left foot. Although the woman's plain gold necklace and the rings that both wear
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- The Bible, Diego Velázquez