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The Mill and the Cross and Bruegel's Road to Calvary
The Last Supper as painted by Ghirlandaio, Leonardo and Tintoretto
It was at this meal that Christ said "This is my body which is given for you" when he broke the bread to eat and "this is my blood" when he drank the wine. These acts formed the basis for the Eucharist. This is an important part of Christianity which is why it was depicted again and again in art. Let's compare and contrast three different versions of The Last Supper as painted by Ghirlandaio, Leonardo and Tintoretto.
Titian's Entombment of Christ
The Entombment of Christ was a work which embodied the new harmony of the Renaissance. In this composition the figures are placed with a mathematical precision forming two isosceles triangles within the painting. The curving shapes of several others then enhance these triangular shapes. This emphasizes the harmonious proportions that were used in ancient Greek art and revived in the Renaissance. His use of mathematics within the work draws the eye of the viewer into the action taking place.
I am not certain if the example of the Roman sarcophagus from the Louvre (shown above) is the specific work that influenced Titian. Even if it was not, it does help illustrate the idea of placing figures within a composition using mathematical arrangement which was common in antiquity.
Another early example of this type of composition can be seen in the Pesaro Madonna, shown above. This work also breaks from the perfect symmetry of the High Renaissance to give us a new type of interesting arrangement of form. Again the various sets of figures are arranged in a triangular form.
As I stated in my blog post on Chartres Cathedral, the triangle was the number of divinity. This can be seen in the Trinity and in Christian art and architecture is repeated many times over: the trefoil in Gothic architecture, tripartite naves, figures grouped into three, etc.
The Pesaro Madonna (so named as it was commissioned for the Pesaro family) rearragnes the standard frontal Madonna and Child portrait so as better to create depth, move the viewers eye through the painting and pull the viewer into this divine space. In this Titian uses his trademark brushwork and coloring.
*Hartt, Frederick. History of Italian Renaissance Art. 4th edition, New York: Harry N. Abrams Inc. Publishers, 1994. p. 591.
Jean François Millet's The Gleaners
Doric, Ionic and Corinthian
Which style is which and what are the differences between them?
The Doric Order
Our first example, Doric can be seen by looking at the two examples below: to the left the Temple of Hephaestus in Athens and to the right a diagram of the Doric Order. The Doric Order was the first to be introduced, the column capital is plain and undecorated and the column itself is fluted and there is no base to the columns which grew slightly larger in circumference as they neared the base. The Doric order also included a specific "entablature" or decoration above the columns. Alternating "triglyphs" and "metopes" around the frieze at the top and sat on top of a plain band known as the "architrave" where the column would meet the frieze.
Triglyphs had three raised bars (tri=three) which separated each sculptural scene, those were known as metopes (met-oh-pee). The simplicity of this style was very popular in the Archaic Period in Greece (750-480 BC) and seemed to be more popular on the mainland than on the Greek islands. The Doric Order was imposing and massive in their appearance and elements of this continued to influence through the ages.
Temple of Hephaestus in Athens, Greece, 449-415 BC
Here is a more recent example of an adaption of the Doric Order, the Tempietto designed by Bramante in Rome at the start of the 16th century during the High Renaissance. Bramante was also responsible for being one of the principle architects of St. Peter's in Rome.
Note that while Bramante used the classic Doric column capital, he broke from the Ancient Greek tradition by using smooth columns instead of fluted columns and he added bases to the columns which the traditional Doric did not use. Another Renaissance invention was using a different color of marble for the column and capitals. However Bramante did include the full entablature of the Classical Doric Order: an architrave (plain band above the columns) and triglyphs (three raised bars) alternating with metopes (sculptural decoration).
The Ionic Order
The second style that was invented was known as Ionic and can be most easily recognized by the scrolled capital on top of the columns. This style was also created in the Archaic period and was used more frequently on the Aegean Islands than on the Greek mainland.
Besides the scrolled capital which is its most recognizable feature, the fluted columns are thinner and sit on a base. The triglyphs and metopes are replaced by a plain, undecorated frieze.
A beautiful Renaissance example can be seen in La Rotunda (Villa Capra) which was designed by Palladio in Vicenza in the middle of the 16th century. Palladian architecture had an enormous influence on both Renaissance and later architecture. Palladio was very aware the the proportions and harmony that were used to create the original Greek temples.
Here is a detail of one of four symmetrical porches, again the one change that Palladio made was to use smooth columns instead of fluted columns. La Rotunda the influence behind the American president Thomas Jefferson's home of Monticello in Virginia. However Monticello used the Doric Order on its porches.
The Corinthian Order
The Corinthian Order was the latest order to be introduced, the earliest example was found during the Late Classical Period (430-323 BC) but it was the style favored by the Romans in their architecture. The Corinthian order used a column topped with an ornate capital with acanthus leaves and small scrolls. The rest of the Corinthian order was the same as the Ionic order: the column sat on a base and there was a plain frieze instead of the trygliph and metope pattern used in Doric.
The Art Deco Look
1920-1939
The Art Deco aeon was a thoroughly alluring appearance epitomising the affluence of the inter war period. Known as the 'Jazz Age' or the 'Cocktail Age' it was acclaimed for its modern, glassy looks and comfortable use of materials. New York's Chrylser Building, The Savoy, Sybil Colefax and Rene Lalique are icons of this era and are all still admired and abundant emulated today.
Decadence
Art Deco was a apparent acknowledgment to the acerbity of the First World War. Luxury and corruption are acutely axiomatic in the use of attenuate and alien dupe and abstracts such as ivory, shagreen (imitation sharkskin) or mother of pearl. Excessive use of mirror, satins and anemic leathers aswell fabricated the attending awful abstract and accordingly alone affordable to the aristocratic who had agents to yield affliction of such things. Hollywood adored the appearance as it formed altogether for the atramentous and white arena sets of the time and as a aftereffect animated the attending to one for the A-listers of the day (Marlene Dietrich for example.)
Global style
Global influences were aswell notable. The Art Deco use of bark as a accomplishment on appliance came from China, the colours of the aeon were acutely those of the Russian Ballet, the stepped shapes of the pyramids of the Aztec can be apparent in cocktail cabinets and clocks and the analysis of Tutankhamun's burying website in 1922 brought about a Neo-Egyptian faddy that was translated through the use of sun bursts and columns.
Technology
Advancement in technology was aswell a key access that presented itself in a 'streamlined' look. Aerodynamic shapes taken from ocean liners and Zeppelins can be apparent in accustomed altar of the aeon - from cigarette lighters and radios to cocktail cabinets.
Technology brought about new abstracts ancient into aboriginal and avant-garde styles. Marcel Breuer and Mies van Der Rohhe developed cantilevered chairs application tubular steel. The skeleton was confused from the central to the out and this gave the seats an automated feel that was both glassy and beauteous to attending at. The Barcelona Chair was advised in 1929 but is still abreast today and furnishes abounding a avant-garde home or office.
Vulgar
However, technology was aswell the atrophy of the appearance as the adeptness to accomplish fabricated the 'elite' appearance far too available. Apery articles fabricated from bargain abstracts fabricated the attending barnyard and by the end of the 30s the appearance had died in both Europe and America not to reappear afresh until the 1980s if clear architectonics helped accompany about its resurgence.
Today
Art Deco can be congenital into today's schemes after the charge to be an cutting absolute 'look'. Use adapted furniture, belted lighting, rugs of agrarian geometrical shapes or a spectrum of adventurous colours, Eileen Gray's tubular animate table is absolute for a adumbration of Deco as are Corbusier and Aalto chairs in metal or angled copse for a softer look. Thankfully it is now apery but adjudicator and added agrarian animals banknote are aswell broadly available, predominantly in fabrics but aswell in flocked wallpaper for the adventurous and the brave.
Research
There is beauteous Art Deco architectonics to appointment in Havana, Cuba, Copacobana in Rio, Brazil and South Beach, Miami. A appointment to La Maison de Verre in Paris ability aswell be in adjustment and next time you are in London, break in The Park Lane Hotel and banquet at Claridges. Purely for analysis purposes, of course.
5 Ways to Use Bamboo Rugs
Bamboo rugs are acclaimed for their durability, able appearance and fashionable alloy with close themes. Abounding accept that their acceptance stems from the abounding altered places that humans can use bamboo rugs as a decorating tool. They are not alone acclimated on the floor, but in added places to brainwash a close atmosphere, abyssal theme, Oriental aberration or airy summer aura. These are just a few of the abounding means they can be acclimated in autogenous and exoteric adornment and designs.
Living Spaces
When it comes to active spaces, they add an added ambit to the adornment in the active room. They can be featured bestride bamboo flooring, attenuate accumulated carpeting, asphalt and brick. Rugs can aswell be affected and afraid as needed. For humans with allergies, the bamboo rug may be an answer. It does not aggregate dust or anchorage actualize lint.
Tiki Huts
Any bartering enactment that resembles a tiki hut or has the name tiki in it should apparently affection a bamboo rug at the access - at the actual atomic - and apparently accept at atomic one in every room. This will accumulate it in concert with the affair and advance the close tiki atmosphere. Bamboo rugs ally able-bodied with beard roofs, bamboo beam covers and tiki masks.
Bathrooms
Bathroom attic generally needs a accoutrement to assure assertive areas from wet spots or top cartage wear. These rugs are ideal for the bath attic because they are attenuate and do not skid. They do not cast up easily, so benumbed risks are minimal, as well. Bamboo rugs are accessible in a countless of colors, from aphotic accustomed shades to ablaze hues and aggregate in between. Abounding accept flecks of added colors embodied into their alloyed surface, such as raw blooming burnt bamboo or aphotic chocolate.
Decks
Like accustomed rugs, bamboo ones are not broke if they are larboard out in the rain; they will dry. They can serve as a non-slip apparent on the deck. Place them in foreground of the patio door, by the basin or bottom battery or beside the hot tub. They are aswell accessible for accurate areas to anticipate swimmers and loungers from stubbing their bald toes.
Storage
When a athletic rug is bald in accumulator areas that will not blot stains and become ruined, one advantage is the bamboo rug. Because it is not fabricated of fabric, such as nylon, chemicals from charwoman food or drips from metal cans will not eat through the apparent or leave circles in the pile.
Chartres Cathedral's North Rose window
In the very center of the window the Virgin Mary holds the baby Jesus She is surrounded immediately by doves and angels. The 12 major prophets encircle them in diamond shaped windows. Then there are 12 quatrefoil (4 1/2 circles) windows with the symbol of France the fleur-de-lis. The fleur-de-lis is literally "the lily flower" the flower that the Virgin Mary is always seen holding in an Annunciation scene. The lily was for centuries a symbol used to indicate purity and the deep color blue is the color of the Mary and also a symbol for purity.
The exterior half lunette shapes each contain one of the minor prophets. The small lancet (long, thin windows) windows at either side of the main rose window would indicate who the patron was, in this case Queen Blanche of Castille who was originally from the Castillian region of Spain before marrying into the French royal family and becoming the mother of St. Louis. She ruled at the regent of France from 1226-1236. The fleur-de-lis being the symbol of France and the gold castle on a red background being the symbol of Castille. Anyone seeing this would have recognized right away that these were the joint symbols of Blanche of Castille.
North Rose Window, detail of lower lancets, Chartres, France, c-1235
If you visit make sure to go on one of the twice daily tours he offers.
The Colour of My Dreams: The Surrealist Revolution in Art
I am interested in all of the meanings behind Surrealism and know I have a lot to learn. The exhibit is huge and brings Surrealist work together and borrows from dozens of museums and private collections.
Philadelphia Museum of Art: The Louise and Walter Arensberg Collection, 1950
© Estate of René Magritte / SODRAC (2010)
There are paintings, videos, drawings (including several "exquisite corpse drawings") and sculptures. The sculpture also includes many works from Canada's First Nations (known in America as Native Americans) which had a strong influence on Surrealism. I hadn't realized this earlier but seeing the side by side comparison gave me a new appreciation for both types of art.
Surrealism began in Europe in the 20's and the movement was influenced by a variety of things including-
-The studies of Freud and new ideas about psychoanalysis as well as dream analysis.
-The art of the Dada artists a decade earlier who used art to make sense or World War I (or use their "nonsense art" to show that the war didn't make sense).
-The Metaphysical art movement also about a decade earlier which was the first to explore the ideas of the unconscious.
-The idea that tapping into the unconscious and letting go of rational thought completely frees ones creativity.
The Metropolitan Museum of Art, The Pierre and Maria-Gaetana Matisse Collection, 2002
© Successió Miró/SODRAC (2011)
Image © The Metropolitan Museum of Art/Art Resource, NY
I will fully admit that I am not expert on the period, I have mostly been researching pre-20th century art. However I have always found it fascinating, ever since I saw the work of Rene Magritte as a child. A year ago I saw an amazing exhibit of Metaphysical art in Florence and this past spring my interest was renewed when I visited the Magritte Museum in Brussels.
Surrealism didn't have one specific style but most artists were interested in either creating very realistic works that didn't make visual sense (such as Magritte) or in creating works that were done when they let go of a rational thought process (such as Miro). One example of the latter is the painting above by Miro which gave the exhibit its name.
Philadelphia Museum of Art: The Louise and Walter Arensberg Collection, 1950
© Estate of Max Ernst / SODRAC (2010)
Rather than being arranged chronologically, the curators divided the art work into several categories. Some of those categories were "Spaces of the Unconsious", "Forests/Labyrinths", "Exquisite Corpse", "Myths, Maps, Magic" and "Anatomies of Desire" each highlighting a different aspect of Surrealism.
Both forests and labyrinths were aspects of the human psyche, forests were thought of as dark and foreboding and could be interpreted as the darker part of human nature. Labyrinths were confusing places where people lost reason. The Surrealists had a journal titled "Minotaur" after the Minotaur that was in the labyrinth of Greek Mythology.
Tate Modern, Purchased 1981, © Estate of Max Ernst/SODRAC (2011)
Photo: Tate, London/Art Resource, NY
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The Arnolfini Wedding Portrait
This was painted in Bruges by the Flemish artist van Eyck and showed a wealthy Italian patron who was originally from Lucca in Tuscany. There was quite a lot of trade and influence between Tuscany and Flanders as Tuscany was known for its wool and wool cloth and Flanders for its tapestries. Arnolfini had been living in Bruges for years. It is a sign of his wealth and prestige to have commissioned a painting done by one of the highly sought after Flemish masters such as van Eyck.
We should look at this instead as a portrait which commemorated the wedding between the Italian merchant Giovanni di Nicolao Arnolfini and his wife (whose identity in this painting is uncertain). This could have been painted after her death (Arnolfini's first wife died in 1433 and there was no documented 2nd wedding), painted after the wedding, or even painted before a 2nd wedding took place.
One reason that this has either been thought to be a memorial portrait or a portrait of a woman who Arnolfini is engaged to but hasn't met yet is her lack of specific features. Versions of the same sweetly precious face can be seen in several of van Eyck's angels. She looks rather stylized, like the idea of a beautiful woman rather than a specific person. In the case of the former there wouldn't have been a record of her appearance and in the case of the latter it was not uncommon for marriages to be arranged.
However the features of Giovanni Arnolfini's face are very pronounced, compare his portrait with the one below. This was also done by van Eyck and more than likely shows the same man, or another member of the wealthy Arnolfini family.
Other symbols of wealth were the outfits that are worn, long and trimmed with fur, and the rich and vibrant pigments used to paint them. The rich reds, blues and greens could only be achieved when semi precious imported stones were ground up and added to the paint to get such lustrous colors.