...Rembrandt vs. Rubens Andrew Ulrich Prof. Hutson ART 38716-ART IN THE AGE OF REMBRANDT AND RUBENS 1/22/15 Peter Paul Rubens and Rembrandt Harmenszoon van Rijn were two of the most famous and successful painters in 17th century Europe. Rubens was a Flemish Baroque painter and was admirably recognized for his Counter-Reformation altarpieces, portraits, landscapes and historical paintings of mythological characters. Rembrandt was a Dutch painter and printmaker, who was also known for his etching. His greatest successes are told through his portraits of the people who surrounded his life, his self-portraits and paintings of scenes in the Bible. Both artists received a traditional education and then continued their education with several apprenticeships to learn the basics of art and painting. These artists were treated with immense success in the 17th century, especially considering the amount of turmoil that was happening with the ‘Eighty Year War’ happening all around them. The journey to success contained personal triumphs and setbacks for both artists, albeit each journey was draped with divergence. The differences between upbringing and lifestyle of each artist led to a different approach to their paintings as well as a different style of art in general. One main difference between artists is that Rubens chose to travel to Italy to study Italian art and culture, Rembrandt elected to stay-put in Amsterdam to continue his studies. This factor, as well as many other differences...
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...Rembrandt Harmenszoon van Rijn Rembrandt is no doubt one of the best painters this world has ever seen. He was born on July 15, 1606 in Leiden, Netherlands. In 1620 he attended the University of Leiden, however he left shortly after to follow his passion for art. After Rembrandt left college he found two masters, who would teach him to understand and become fond of art. His first master was Jacob Van Swanenburgh, who is known for his underworld artwork. The second master that Rembrandt worked with was Peter Lastman of Amsterdam, he supposedly helped Rembrandt “Master” the genre. Once Rembrandt secured a good understanding of painting he settled in Leiden. There he started attracting followers and establishing a name for himself. Later he began doing business with Hendrick Uylenburgh, an Amsterdam entrepreneur who had a workshop that created portraits and restored paintings. Later Rembrandt would move to Amsterdam where he worked in Uylenburgh’s shop. He created many commissioned portraits there....
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...interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).[9] As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years.[10] After a brief but important apprenticeship of six months with the painter Pieter Lastman in Amsterdam, Rembrandt stayed a few months with Jacob Pynas and then started his own workshop, though Simon van Leeuwen claimed that Joris van Schooten taught Rembrandt in Leiden.[10][11] Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students, among them Gerrit Dou.[12] In 1629 Rembrandt was discovered by the statesman Constantijn Huygens, the father of Christiaan Huygens, (the Dutch mathematician and physicist), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from...
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...Nicolas Kouatli PHIL 315: Kant and 19th Century European Philosophy Upon The Blessed Isles: Interpreted Thus Spoken Zarathustra thoroughly illustrates Friedrich Nietzsche’s core philosophical beliefs, utilizing scripture-like parables and mystical narratives that outline the travels and experiences of the quasi-fictional philosopher Zarathustra. Nietzsche’s philosophy is quintessentially immoralist and inescapably the story unraveling it would have to denounce morality as a whole. In Nietzsche’s eyes, the historical Zarathustra would serve as the perfect figurehead for his personal teachings. Historically, Zarathustra (or Zoroaster as the Greeks knew him) was an influential Persian philosopher credited with popularizing the ideas of individual judgement, “Heaven and Hell”, the future resurrection of the body, and the afterlife – essentially paving the path for all modern religious doctrines. In Thus Spoken Zarathustra, Nietzsche’s Zarathustra attempts the polar opposite – effectively dismantling the “out-dated” concept of morality and bringing all moral-powered beliefs down with it. Nietzsche’s Zarathustra doesn’t stop there; he goes on to introduce the concept of the “overman” as the necessary answer to the death of God and illuminates a cyclical explanation of time, which he refers to as “eternal return”. Thus Spoken Zarathustra was originally composed of four separate books, each written apart from each other – which have since been compiled into one comprehensive...
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...Unit 5 Individual Project Dallas Hyde AIU Abstract Three works of art in the Baroque Style are presented. Thoughts are given about the visual appearance of the three pieces. A summary of the artist’s personal philosophies of art is attempted. We explore these works and how they fit into the Baroque time period. The three works are then compared and contrasted in form and content. Baroque Art We will look at three fine pieces of art from three great artists from the Baroque Period. Each artist though separated by hundreds of miles or decades painted using light and darkness for dramatic effect. The first painting example is a Pieta from the Baroque Period. It was done by Annibale Carracci from Bologna, in Northern Italy. Annibale’s Pieta shows Mary holding her son after he was crucified. The edges of the painting are dark and your eyes are drawn to Christ through Carracci’s use of light. Christ is the main figure of the painting but his mother is at the center. Mary is painted in a soft blue in contrast to the pale Christ. She has a look of sorrow and her left hand is out stretched like she is questioning why this has happened. Two small angels are also in the painting, one holds Jesus’ hand while the other inspects the crown of thorns. Carracci was one of the most admired painters of his time and helped create the Baroque style (Christiansen, Keith. 2003).He was a prominent figure in the movement against Mannerism. He founded the Accademia degli Incamminati (“Academy...
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