Analysis of Art History - Essay Example

Art History Part The Enlightenment Era depicted advancement in numerous philosophies that contrasted with those of theMedieval Age. Apparently, Joseph Wright painted different portraits, which embraced scientific instruments while still suggesting other social theories such as rationalism and secularism. For example, enlightenment issues are evident in the portrait called “An Experiment on a Bird in the Air Pump." It is arguable that the oil on canvas painting approach and the determination to develop a knowledge-bound artwork led to the inclusion of love and other relationships in the setting (Conrad 920). Further, the portrait implemented the possibility for the society to learn and embrace science in their households. The attentiveness of the characters in the portrait acknowledges the emphasis that the natural philosophers in the age endeavored in the distribution of knowledge to the society despite the aspect of age. The use of candle light in the setting depicts similarities to Wright’s 1796 portrait, “Dressing the Kitten”. It is realistic that the aspects of freedom and cosmology appear in the two paintings with the use of a candle, the rare cockatoo among other factors. The theme of tolerance and freedom is present in the portrait as the artist depicts the use of an air pump in the creation of an airless vacuum (Schmidt 4). The process leads to the death of the cockatoo with the characters depicted therein failing to show concern or passion. The two factors are shown in the second portrait as the two characters who could be siblings attend to a kitten without any show of emotions towards the kitten’s comfort. Part 2 Fuseli, “The Nightmare,” 1781 The Nightmare portrait is an exemplary artwork that presents Henry Fuseli’s expertise. The painting is available in the American Detroit Institute of Arts with informative records depicting its dimensions as measuring 40 inches by 50 inches (Dow 61). The Oil on Canvas based portrait depicts a woman stretched on a bed with an Incubus upon her stomach. The curtains open up for a head of a horse, which seems to concentrate on the Incubus. From the view, a contemporary viewer could establish the implication that the 1781 portrait sought to provoke human society on the fright experienced in dreams. Apparently, the aspect of death and fear are evident in the painting through the presentation of a lifeless character and an aggressive Incubus on her. The suggestion is that the society was afraid to accept the imminent nature of death. Such evidence accrues from the portrait’s inclusion of a horse head. Arguably, the artistic setting implied the possibility that the horse would frighten the Incubus and save the woman (Conrad 927). Further, the contemporary society could note the possible suggestion that the enlightenment period held different perceptions on the nature of death. David, Oath of the Horatii, 1784-85 The enlightenment period faced revolutions as the sought to establish freedom from dictatorial structures. In the “Oath of Horatii” painting of 1784-85, the artist depicts a king who seems to surrender to the viewers through a suicidal execution. The soldiers hold a crown prince while lifting their hands up and forward. It is evident that the characters in the painting hold back, but show concern about the situation (Schmidt 4). Jacques-Louis David artistic presentation of the 326 by 427 centimeters of the oil on canvas piece represents the situation in a suggestive manner. According to the philosophy, the artwork suggests that the French community in the period embraced constitutionalism in its social structure; hence, the people bound to comply with the set jurisdiction despite the course or nature (Schatzberg 558). It is critical to understand that the neoclassical theory influenced David’s artwork as he developed an understanding of the powers born of any society’s constitution. Further, the importance of the painting in the contemporary society is evident through its suggestive nature that any society’s constitution remains stronger over any person despite the power vested. It is conclusive that the enlightened French society upheld the law and suggested those facing execution were to do it themselves and in the public as the setting depicts the entrance of a palace (Schmidt 8). Goya, Third of May 1808, 1814-15 “The Third May 1808 in Madrid” is a portrait based on reality. Arguably, Francisco Goya painted the oil on canvas portrait in the year of the event. It is realistic from viewing the 8.9 inches by 13.4 inches large artwork that the characters included a troop while civilians lay lifeless (Cronin and Cassidy 90). The portrait indicates an intense operation between the troops who relentlessly fire their salvos to kill an unarmed group. According to history, Francisco’s painting implies the act of treachery between the French and Spanish kings. It is known that the French king at the period lured King Charles IV to join forces in conquering Portugal. Informative studies on the issue argue that the French king held a different ideology towards the operation and his interest remained to topple the Spanish monarchy. It is realistic that the treacherous relationship led to the conquest of the Spanish kingship, which became a throne to Joseph Bonaparte at the end. Being Napoleon’s brother, this confirmed the initial intentions that had led to the relationship (Pérez-Magallón 14). The artist’s impression could determine the historical culture of politics between the two Western European nations. Houdon, George Washington, 1788-92 The statue bears a dimension of 190 centimeters. The artistic impression of George Washington had commenced in a number of phases before Jean-Antoine Houdon established the appropriate approach to delivering the required artwork in accordance with the recommendations envisaged by the Virginia Assembly. The renowned artist endeavored in the use of Carrara marble with the knowledge that the tool would lead to the development of a priceless artwork memorable to the American society. Apparently, the expensive artwork presents Washington a neo-classical leader betrothed with a focus towards something vital from the artistic impression of an elevated head (Jones 6). The sword held on the statue’s hand provokes the thought that the artist implemented leadership and power in the process. The statue includes the uniform that Washington wore during the period. Therefore, the impression of the statue comprehends different cultural and social attributes towards the definition of the American political structure and economy in the 18th century. Jean-Antoine’s determination to present realism in the statue is evident in the use of Carrara marble while maintaining the artistic aspect of dimension to ensure quality in the process (Holt and Frank 9). It is possible for a contemporary viewer in the exhibition to acknowledge the success in leadership, and economic prowess in the American society since its independence following a personal assessment of the materials used. Part 3 Discussion of the intellectual, conceptual, and formal aspects of Velasquez Las Meninas The Renaissance and Medieval cultures led to the development of different artistic designs and practices. It is known that 14th century coincided with the Byzantine designs while the preceding period led to different revolutions in painting from the use of oil on a panel to the implementation of oil on canvas method. According to art history, the 17th century’s artists remained rooted to the oil on canvas design in their work and it was the case in the following period. Arguably, Diego Velasquez played a vital role in the establishment of tension and motion in his artwork (Rosenwasser and Jill 82). For example, “The Las Meninas” portrait in Madrid’s Royal Alcazar depicts the influential aspects of motion in the figures. Precisely, the brown and grey colored dog is seen in the portrait’s front while four female figures are present in the area behind the dog. It is realistic that the figure of a painter who seems to concentrate on the female characters is the portrait’s artist. The style in which the artist included his activities in the painting implements the theme of motion and tension. The adequate setting in the entire portrait represents a Spanish court; hence, a contemporary audience to the exhibit would establish the aspects of constitutionalism and legal process in the Spanish society of the Medieval Age (Gardner and Fred 17). It is apparent that the two women standing behind the first group concentrate on serious issues while one of them focuses on the artist’s progress in the process. The argument implied in there is that the artist was present on the occasion. The “Maids of Honor” painting embraces the Golden Age culture of the 17th century in the Spanish community. It is realistic that the different figures in the Spanish court setting of the painting concentrate on different activities. Despite the royal adornment of the characters, the exit of a judge at the furthest end of the portrait’s background implies the exercise of constitutionalism in the Spanish community at the age (Honour and John 18). Another aspect of formalism is evident in the depiction of religion as one of the figures represents a nun. According to the painting, a viewer could perceive formalism through the social structures of the court process and a religious aspect. The non-verbal aspect of literature is evident through the artist’s depiction as painting the portrait while in its confines. The literature shown in the artwork is that Margaret Theresa was present in a Spanish court with her maidens while mourning her father’s death. According to history, Margaret was married to Leopold at the minority age of 15. The evidence shown in the portrait’s inclusion of dwarfs amongst Theresa’s maidens confirms the aspect of drama (Potter 51). According to studies, the marriage between Leopold and Theresa succeeded because of the contrary to the differences in age since they shared similar views on different forms of entertainment. The argumentative analysis conceptualizes Baroque culture’s motion by the depiction of an artist whose attention to the characters enables him to continue painting on the immediate canvas frame (Schmidt 4). It is realistic that the 17th-century royal family shared characteristics with the contemporary society, as the dog in the foreground is probably Theresa’s pet, something that is common in the present. Works cited Top of Form Top of Form Top of Form Top of Form Top of Form Conrad, Sebastian. "Enlightenment in Global History: A historiographical critique." The American Historical Review 117.4 (2012): 999-1027. Cronin, Blaise, and Cassidy R. Sugimoto, eds. Beyond bibliometrics: Harnessing multidimensional indicators of scholarly impact. MIT Press, 2014. Dow, Gillian. "Intellectual Journeys: The Translation of Ideas in Enlightenment England, France and Ireland. Edited by Lise Andries, Frédéric Ogée, John Dunkley, and Darach Sanfey. Pp. 384. Oxford: Voltaire Foundation, 2013. Hb.# 75." Translation and Literature 24.1 (2015): 103-107. Gardner, Helen, and Fred S. Kleiner. Gardners Art Through the Ages: The Western Perspective. Boston, MA: Wadsworth/Cengage Learning, 2014. Print. Holt, Robin, and Frank den Hond. "Sapere aude." Organization Studies 34.11 (2013): 1587-1600. Honour, Hugh, and John Fleming. A World History of Art. London: Laurence King, 2005. Print. Jones, Kip. "Connecting research with communities through performative social science." Qualitative Report 17.18 (2012): 1-8. Pérez-Magallón, Jesús. "The Baroque: the intellectual and geopolitical reasons for a historiographical erasure." Les Dossiers du Grihl 2012-02 (2012). Potter, Tiffany. Women, Popular Culture, and the Eighteenth Century. Toronto [Ont.: University of Toronto Press, 2012. Print. Rosenwasser, David, and Jill Stephen. Writing Analytically. Boston, MA: Cengage, 2012. Print. Bottom of Form Schatzberg, Eric. "From art to applied science." Isis 103.3 (2012): 555-563. Schmidt, Albert J. "Enlightened Metropolis: Constructing Imperial Moscow, 1762–1855." Journal of Social History (2015): shu050. Bottom of Form Bottom of Form Bottom of Form Bottom of Form Read More