Allegory of Nature by Marten Van Heemskerck, 1567 - Case Study Example

 Critical Art Essay Student’s Name: Professor’s Name: Institution Affiliation: Course Title: Date: Allegory of Nature by Marten Van Heemskerck, 1567 The panting by Heemskerck was done in the 16th Century, a time when artwork had become deeply rooted in the events that were going on around the world and the characteristic relationship between states and different societies of the world. Heemskerck was a Dutch artist who developed artwork in this line by observing cultural, social, economic, and political events around him (Stokstad, 2005). Although the painting was done several centuries ago, it continues to capture the interest of many audiences and artists around the world, due to the fact that the painting’s theme remains a living memory to date. The painting is predominantly oil on panel, and it is subsequently characterized by social diversity in terms of social representation that the painting makes. The first focus goes to the front left part of the artwork, followed by the entire painting in relation to noticing the scenes that Heemskerck presented in the painting. The painting presents a calm scene, characterized by human activity as the painting depicts. There are number of people in the painting, posing in action packed manner. In other words, their appearance depicts that they are a number of activities going on with the environment in which the painting is set. Use of color in the painting is critical to account for. Color used to point out to two racial or ethnic differences that can actually be identified from the painting. Use of light and dark color shows that there are two types of people presented in the painting. Light color differentiates the lighter skinned people from the darker skinned people, whose color appearance is darkened in the painting. As earlier mentioned, the environment within which the painting is set is calm, though characterized by some human activity. The light skinned people are observed to be in less activity than the dark colored people. The darker colored people appear to be undertaking some kind of tasks. However, there are no signs of extraneous undertakings in the painting. One of the darker skinned people on the right of the painting is playing piano for armored men in a boat (Stokstad, 2005). Comparing the two types of people that Heemskerck presents in the painting, the dark colored people appear more like they are serving the light colored people. In other words, there is an aspect of servant-hood from the dark colored people towards the light skinned people in the painting. The front middle of the painting presents a captivating scenario. The darker colored people are enjoying a ride by a woman who is glued to a mirror admiring herself. On the same position of the painting, a dark skinned man maneuvers the boat carrying light skinned people who seem to be having a good time based on the way they are holding their food and drinks (Stokstad, 2005). The scenario on the painting also accounts for a certain kind of social relations between the darker skinned people and their fellow counterparts, and also between them and the lighter skinned people. The painting has an invariant scenery color. Plants in the painting are generally green, depicting health and favorable environment to thrive in. The only notable aspect of color change is from light green to dark green. On the same color scenery aspect of the painting, color and detail of the front part of the painting makes up a crucial point of focus than the back cityscape (Stokstad, 2005). People and ocean create the primary front detail of the painting. Masculinity of people comes out with color use, complemented by the calmness in the ocean and cool breeze of wind that pushes the sailing boat. The shading of the painting varying to outline specific aspects that are crucial to what the people in the painting are doing. Buildings are lightly highlighted, appearing inferior presence and painted in white to emphasize their absence of to appear like they are still under construction. Buildings are not a primary aspect on the painting. The painting also presents see-through beings alongside normal people (not see-through). While distance effect may be responsible for this observation, it could be possible that a ghost scenario is being accounted for Heemskerck in his painting. Other dominant aspects of the painting are the areas painted in white. The white area dominance leads to noticing angels in the sky on the upper part of the painting. Heemskerck’s artwork finally consists of the pink colored statue located at the middle of the painting, which is easily identifiable due to its coloring that does not equally match any other aspect of the painting (Stokstad, 2005). Although the artwork by Heemskerck is set back in the 16th Century, moving it to a different setting would still make sense out of the painting. The overall expression of the painting relates to black people exclusively serving the white people, a scenario that dates back to the times of slavery. On another setting, the painting can be moved to the contemporary times where social ties have significantly exacerbated and state interdependence has been realized. In other words, the whites freely interact with blacks around the world. The painting can be moved into different settings, and yet account for an observable scenario in that setting. The point of the work is critical to the time it was developed, back in the 1567. It is made of the two primary and dominant races of the world; white and black. Heemskerck tries to point out the main social concern of relationship. The people presented in the painting are seen to be in some kind of relationship, and their interaction governed by probable applicable norms. The active persons in the painting tend to direct their services to the light colored people, depicting an aspect of formal relationship. Moreover, all the parties in the painting are interacting in a given environment. Buildings, ocean, boat, romance aspects, dining and wining are a number of observable activities in the painting (Stokstad, 2005). Over and above these, aspects of supernatural forms are presented; angels and ghosts, all of which are integral to the lives that the people in the painting are leading. The artist centrally identifies with the people he used on the painting. Heemskerck was a Dutch artist, and in the context of the painting’s setting he could be described as light skinned. The artist might have chosen the painting’s setting; people, place and all the surroundings, because they are things that he was familiar with. On the same note, it could be because of experiences that he could have had prior to doing the painting. The primary statement that can easily be drawn from the painting is that human beings interact at all levels, whether for cultural, social, economic, or political reasons. There are also individuals who boss others around, a scenario that Heemskerck probably captured through this painting. The world was experiencing slavery of dark skinned people by whites at the time this painting was done. This practice continued for centuries, until late 18th and early 19th century when human rights activists raised their concerns and further pushed for alleviation of slavery around the world. This piece of painting qualifies to be art in the view of the theme and subsequent interpretation of the painting. The painting also fits into diverse settings, making it viable over time. This critical fit-in in over the years trends makes the painting a fundamental and successful artwork. The artwork of Heemskerck is personally appealing. My choice to do this painting in my analysis was the diversity in setting that the painting exhibited amid its static nature. That is, amid its static nature, it can be related to intergenerational changes and still maintains its uniqueness. It is a beautiful piece of art that places people in their natural environment, and further shows their interaction with supernatural forces. This makes it good and unique piece of art. Reference Stokstad, M. (2005). Art History, vol. 1. New York: Harry N. Abrams. Read More