...Samantha Franklin February 23, 2015 ART 104 – 1001 Professor Florence Quideau Jan van Eyck, The Ghent Altarpiece (open), 1432 The Ghent altarpiece houses 12 panels on the inside. It was created in 1432 it was conceived in the saint Bavo’s Cathedral. The medium used in this painting is oil paint. There are many deep bright colors in this piece. The three pieces in the top center, which shows the hierarchy of God, Mary The middle portion displays God the father dressed in a royal red robe embellished with precious stones. In his right hand he holds a gold staff and he has his two finger gesture that is seen in many other paintings and depictions of god where he is approving the affairs happening on earth, it also a sign of his benediction. There is a crown at his feet which looks very three dimensional with the use of light and shadow. All the elements in this painting are carefully rendered showing immense detail. God is sided by both Mary and john the Baptist, who are also cloaked in royal blue and emerald robes. This portion of the altarpiece drew my attention because of the interesting composition and the details. I found most interesting because of the intricate use of jewels that show the importance of god. The colors are rich and deep and the crown at his feet show his power. There is a tapestry behind him that has a high contrast between the gold and navy blue pattern giving God a very interesting...
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...Jan Van Eyck was one of the most popular and important artist during the Renaissance. He born sometime before the year of 1395 in Maaseik, Belgium and died on July 9, 1441 in Bruges, Netherlands. He introduced the idea of oil painting. Most of his paintings consisted of undercover religious signs within portraits and religious subjects. Jan Van Eyck has a high social standing due to working in court. He worked for two courts, one was for John of Bavaria and the other was for the duke of Burgundy. Jan Van Eyck had numerous famous paintings such as the Ghent Altarpiece, Arnolfini Portrait and much more. Another one of his famous art pieces that was essential in the Renaissance period was the Virgin of canon van der Paele. This painting was...
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...Don Malarkey 2-9-12 Significance of the Lamb The Adoration of the Lamb is Jan Van Eyck’s greatest accomplishments of a Renaissance painter. It was painted with oils in the third decade of the 15th century (Glover). This painting definitely has a lot going on in it. The painting is consisted of twelve panels where the outside panels can either be closed or open. There are many spiritual aspects in the painting; from the Holy family, Mary, Joseph, and Jesus; to Adam, Eve, and plenty of saints. The representation of these earthly and otherworldly figures shows the aspects of this world and the next. The lower middle piece physically reflects this with the horizon as the divider between the worlds. The saints and other peoples on the ground represent the present and our actual life, the dove in the sky and the rays from the sun represent the heavens and the afterlife (Glover). The lower middle panel is the most intricate piece in this painting. The Lamb, located on top of the altar, carries a large amount of significance which this paper will go into detail. Christ is represented twice in this painting. Christ is shown as the Celebrating Priest in the upper level seated on the throne with his crown (Philip 61). The second representation of Christ is the Lamb of God being sacrificed on the altar. Its position on the hill indicates how the Host is elevated at the consecration. It serves a double purpose in that it shows the importance of the lamb being above everyone else (Philip...
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...of classical learning and in the interest of ancient Greece and Rome. From this came the discovery of new technologies, new continents through exploration, and the emergence of the arts of philosophy, literature, and art. From this time came some of the most world renowned pieces of art, many of which are still on display today, with two such pieces being “The Arnolfini Portrait” by Jan Van Eyck and “Giorgione” by Giorgio da Castelfranco. Renaissance Art From roughly 1400 to 1600 Europe experienced a rediscovery of ancient Greek and Roman culture and with this rediscovery came wealth, both in the monetary fashion and in the art sense. With increasing trade, the discovery of new continents, and new inventions such as the printing press, there was also an increase in the arts. This increase brought about some of the most well known literature, philosophy, and art that is still studied and admired today. Although there are more well known names in the field of art such as DaVinci and Michelangelo there were many more that still have their art on display today such as Jan Van Eyck and Giorgio da Castelfranco. Giorgio da Castelfranco created a painted entitled “Judith” in the year 1504 and is one of many portraits that depicts the scene of Judith of Holofernes from the Biblical legend of Judith. The tale states that the widow Judith makes herself appealing to an army general, Holofernes, and in the end beheads him with his own sword while he lies inebriated...
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...T. McDonald HUMA205 –Art Appreciation October 23, 2011 Comparison of Renaissance Art Website selection - Judtih (Giorgio da Castelfranco) circa 1504 The painting, ‘Judith’ by Giorgio da Castelfranco done around 1504, is one of many portraits depicting the scene of Judith and Holofernes from the Biblical Book of Judith. The legend states that the widow Judith endears herself to an enemy general, Holofernes, and subsequently beheads him as he lies drunk in his bed (Artlex, 2010). The death of their leader overwhelms the Assyrians and they disband leading many to the conclusion that the widow’s actions save Israel (Artlex, 2010). This representational piece is a two dimensional oil on canvas painting that exhibits soft tones in most of the image. The deeper or more vibrant shades of red near the bottom of the dress worn by the heroin stand out against the earthy browns and greens of the landscape of the scene. The pale pink of the skin of her bare foot which she has propped atop decapitated head of the general emphasizes the grayed and dying body part. The minimum contrast, or gray of the general’s head devalues it and makes it a part of the background while the viewer’s eye is drawn more to Judith and the light to dark shading of red or chiaroscuro of her dress. The landscape behind the courtyard is soft and almost appears monochromatic; it nearly blends into the horizon. There are natural shapes that are prominent in the painting but the sword at Judith’s side...
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...Jean Fouquet: Etienne Chevalier Presented by St. Stephen Van Eyck's realism soon enjoyed international renown. In Italy, Bartolomco Fazio extolled the Flemish artist in 1455/56 as the "prince of our century's painters". In France, too, where Burgundian art was already well known, the new style quickly won favour, becoming known as "la nou-velle pratique". Traces of its influence can be felt in the work of Enguerrand Charonton, and in the celebrated Pieta of Villeneuve-les-Avignon, painted c. 1470 by an anonymous master of southern France. The donor, whose face is realistically represented, is shown kneeling in an attitude of prayer at the bottom left of the Pieta. His white robe, as well as the attribute of oriental architecture (the Church of the Holy Sepulchre in Jerusalem) against a gold background, suggest he has travelled as a pilgrim to Jerusalem. The artist has given powerful dramatic expression to the grief of the mourners, and the intention to introduce the donor into their company seems obvious enough. Nevertheless, the gaze and gestures of the donor have not (yet) made any impression on the holy figures themselves, so that he remains outside their gestural narrative. Although part of the painting, the donor thus seems somewhat isolated within it. His gaze is intended to be directed towards the events taking place, but in order meet his patron's demands, the artist has painted him looking less into the centre of the painting than diagonally out of it. Etienne Chevalier's...
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...CHAPTER 15 – Northern Europe, 1400 to 1500 The art of Northern Europe in the 15th century is typified by precision in rendering surfaces and a wealth of tiny details that came from a tradition of manuscript painting and a belief in the importance of every tiny creation of God's world. The technical development of oil paint provided a paint that dried slowly and was transparent so made possible rich, jewel-like colors and illusionistic textures through a build-up of layers of paint. Works to identify and know in depth: Artist Title Date Jan van Eyck Arnolfini Double Portrait 1400s (15-1) This painting is believed to be a portrait of the Italian merchant Giovanni Arnolfini and his wife, presumably in their home in the Flemish city of Bruges. It is considered one of the most original and complex paintings in Western art history. Both signed and dated by Van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert, the oldest very famous panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842. Claus Sluter Well of Moses 1400s (15-2) The work was executed for Philip’s son, John the Fearless (1371-1419), in a style combining the elegance of International Gothic with a northern realism, but with a monumental quality unusual in either. It was carved from stone quarried in Asnières, France and consisted of a large crucifixion...
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...In 1495 Jan Van Eyck became the first Flanders painter to receive international fame. He was the court painter of Philip the Good, Duke of Burgundy. Jan Van Eyck completed “The Ghent”, one of the largest retable’s of the 15th century. His brother Hubert Van Eyck originally began work on it. Phillip the Good and his wife, Isabel Borlout commissioned this retable as a centerfold that diplomat retainer Jodocous Vyd built. It was dedicated to John the Baptist. Judicious Vyd political and social connections to the Ghent aided in him being appointed chief magistrate of Ghent. The altarpiece in its entirety expresses the Christian principal of salvation. In the oil painting of “Arnolfini and His Bride” Jan Van Eyck depicts a secular painting with religious undertones. The purpose of this painting was to record an sanctify Arnolfini‘s marriage. This retable included gold manuscript. Some scholars believe he was bestowing on his wife permission to conduct business matters in his absence .Rogier Van er Weyden became renowned for his biblical inspired paintings that stressed human action and drama. When Weyden was commissioned by the archer’s guild of Louvain for the church of Notre Dame he created “The Deposition” a center panel of a triptych. The painting resembles a relief carving and depicts Jesus after the crucifixion surrounded by key biblical figures. This oil on wood painting evokes strong emotion in the viewer and regarded as one of the most authentic religious paintings of the...
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...I am Jan Van Eyck. I am a painter and have painted many different art pieces. I have worked for various nobles in the past, including John of Bavaria, and Philip the good. Working with John of Bavaria I worked on several pieces and assembled my own workshop. During this period i started using oil paints as not just a medium of painting but rather over the course of the following several years developed multitudes of painting techniques for which i am internationally known. I am known for my use of realism and illusionism in my paintings. Examples of this can be seen in all my painting especially in the arnolfini portrait. i have used oil paints to find a near perfect way to mimic the effects of light on a subject. From bringing in just the...
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...art produced in separate time frames are likely to vary from one another. Upon first glance, Jan Van Eyck’s Arnolfini Double Portrait made in 1434 and Diego Velazquez’s Las Meninas made in 1656 do not look similar. Although the two paintings have more than two centuries between them, Velazquez makes many references to Van Eyck’s painting and therefore creates a relationship between the two. This relationship is visible when directly comparing the two works of art side by side and similarities begin to emerge. Arnolfini Double Portrait and Las Meninas share many characteristics including foreground composition, mirror reflections, and background references that can be seen after careful analysis despite the initial difference in time, location, and influence of the two artists. With two centuries separating Jan Van Eyck and Diego Velazquez, the primary differences between the two artists are time, location, and influence of their own specific lives. Arnolfini Double Portrait was painted during the middle of the Renaissance when naturalism was highly favored in art. In this naturalistic view, van Eyck painted what he saw in a lifelike manner; his subjects are brightly colored, physiologically accurate, and their faces are detailed with shadow, which depict structure. All these characteristics paved the way for future naturalism and eventually the evolution of Baroque art was born. Van Eyck was located in the Netherlands, which gave him a different perspective on painting than Velazquez...
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...Critical Perspective Paper 2 What is Art? ¬ Dutton believes art philosophy should change their approach by treating art as a field of activities, objects, and experiences that appears naturally in human life. It depends on identified patterns of intrinsic human behavior that is cross-culturally constant. Staniszewski explains that art not just made for thematic representation or an instrument for that moment in time. Modern art in today’s world encompasses psychological, social, and economic charged basis. She is aiming for a stronger understanding of canonical ideals and to dispel out of date mythology in art, culture, and modern subjectivity. The two authors have completely different perspectives in translating what is art. They also have different aims. Staniszewski describes how art in a modern context is created and given power in various institutions, where as Dutton believes the philosophy of art needs to find a different perspective, ‘by treating art as a field of activities, objects, and experience that appears naturally in human life (50).’ The authors’ opinions are sharp in contrast. Dutton stands with a humanistic perspective of art and Staniszewski reflects in terms of the institution. Dutton believes critics are stuck on defining specific concepts such as the readymade. Staniszewski describes our modern conventions of art made Marcel Duchamp’s Fountain a sculpture because its contextual input was given a voice by submitting it into an art exhibition...
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...Fri., Oct. 12 Students All Other Graduate Tues., Dec. 18 Students Holidays Labor Day Sat., Sept. 1–Mon., Sept. 3 weekend: Rosh Hashanah: Sun., Sept. 16 eve*–Mon., Sept. 17 Yom Kippur: Tues., Sept. 25 eve*–Wed., Sept 26 *Sunday and Tuesday classes scheduled for 3:50 p.m. or later do not meet. No classes meet on Monday and Wednesday. See rescheduled days below. Thanksgiving: Wed., Nov. 21–Sun., Nov. 25 Winter Break: Wed., Dec. 19–Fri., Jan. 25 Makeups and On Tuesday, Nov. 20, Rescheduled Days classes will follow the Wednesday schedule. On Tuesday, Dec. 18, daytime classes will not meet. Spring 2013 Registration Nov. 5–30 Juries Arranged by program Classes and Exams End Tues., Dec. 18 Online Session A Aug. 27–Dec. 18 Online Session B Aug. 27–Oct. 26 Online Session C Oct. 8–Dec. 18 Winter Break Dec. 19–Jan. 25 SPRING 2013 Registration (New students register in January for the spring term.) Nov. 5–30, Registration for continuing students Jan. 22–25, Registration for new students and late registration for continuing students Classes Begin Mon., Jan. 28 Last Day to Add a Class Fri., Feb. 8 Last Day to Drop a Class Fri., Feb. 15 Last Day to...
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...THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE This page intentionally left blank THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE SIXTH EDITION ± ± John Algeo ± ± ± ± ± Based on the original work of ± ± ± ± ± Thomas Pyles Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States The Origins and Development of the English Language: Sixth Edition John Algeo Publisher: Michael Rosenberg Development Editor: Joan Flaherty Assistant Editor: Megan Garvey Editorial Assistant: Rebekah Matthews Senior Media Editor: Cara Douglass-Graff Marketing Manager: Christina Shea Marketing Communications Manager: Beth Rodio Content Project Manager: Corinna Dibble Senior Art Director: Cate Rickard Barr Production Technology Analyst: Jamie MacLachlan Senior Print Buyer: Betsy Donaghey Rights Acquisitions Manager Text: Tim Sisler Production Service: Pre-Press PMG Rights Acquisitions Manager Image: Mandy Groszko Cover Designer: Susan Shapiro Cover Image: Kobal Collection Art Archive collection Dagli Orti Prayer with illuminated border, from c. 1480 Flemish manuscript Book of Hours of Philippe de Conrault, The Art Archive/ Bodleian Library Oxford © 2010, 2005 Wadsworth, Cengage Learning ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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