A Sunday Afternoon On The Island Of La Grande Jatte

In the book by Timothy Brook, Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World, the author analysis several paintings of the Dutch painter, Johannes Vermeer. In these several paintings, Vermeer, beautifully depicts scenes from daily life. His paintings are from the Dutch Golden Age and are incredibly realistic and the way he shows light and color are strikingly gorgeous. Although Vermeer’s painting skills are developed the subject of his paintings illustrate quite simple subjects, showing middle class daily life and tasks. However, Brooks takes readers past the beautiful colors we see on the surface and digs a little deeper into each one, going in and unraveling the scene to analysis things like globalization and world trade in the 1600s.

In the United States, and especially in border states such as California, Mexican immigrants and Mexican-Americans have had to live with constant racism and discrimination throughout the better part of the twentieth century. Finally, after years of trying to assimilate and live up to the “American” standard, tempers finally reached their boiling point. The accumulation of pent up tension over the years between the Anglo and Mexican communities reached its limit. The end result was the Zoot Suit Riots. There are several important factors to take into consideration for the cause of the riots. It is important to understand what Zoot Suits symbolized for the youths who expressed themselves through it, the events leading up to the riots, and how ultimately, the relationship between the Anglo and Mexican and Mexican-American communities changed, tensions rose, after the riots occurred.

Prompt: Select and fully identify two paintings from different art historical periods and cultures that depict the same subject or theme.  Then discuss how the presentations are a reflection of the culture and style in which it was created.

Although these paintings were painted two hundred and seventeen years apart, they share some similar artistic qualities, but they are not so similar as to be indistinguishable from their own time period. Both Jan Steen and Vincent Van Gogh paint subjects around the table with hats and head coverings, a vanity that seems to stretch through both time periods and up to the modern era as well. The visual textures of both paintings are very similar as well. Each painting gives the illusion of a soft table covering and hard surroundings. In each painting the subjects are enjoying a vice, smoking in The Merry Family and Coffee in The Potato Eaters. The focal point of both paintings is similar too. In each the viewer’s attention is pulled to the table itself and is hastening to observe the people gathered around it. That seems to be where the similarities stop. Jan Steen uses a warm palette with a daytime natural lighting that plays across the painting from the window. In contrast, Van Gogh uses a cool palette and paints his scene at night using the whispering light of an overhead lantern.

With their family and friends blissfully dining, the peasants depicted in Peasant Wedding manifest the simple Lutheran religion that was being innovated at the time. The two paintings contrast in this way because of the indistinct and undeniable religious backgrounds the paintings have.

This painting shows how close and codependent humans and nature were. How well humans worked together with one another and their world. How peaceful those that are close to nature are, which is why it (nature) must be celebrated and appreciated.

Their individual perspectives in life ultimately shaped their education, experiences and overall point of view. This essay will outline the similarities and differences in subject matter, tone and imagery of these two artists’ bodies of work.

“All history and all mythology put into service of gluttony”(Baudelaire 2). When you look at the flip side, the poor family doesn’t see the greed or the selfishness because they are the ones looking from the outside in. From the outside point of view all you see is the light, which to them is the ideal community. The poor family thinks it is wonderful and perfect inside the cafe- they think life as a rich man or woman is the path to happiness, but they cannot see through the luster. Physically they see all the lights and extravaganzas, but they don’t actually know them. They are left with an observation, and individually they make an analysis on how great their lives must be. The problem is that they do not know those in the cafe personally, they only know what they see. The Father and two sons can observe the cafe and those inside, and vice versa but they can only see one’s luster and cannot understand each other’s deeper meanings.

It is through the cultural perspective represented in these arts that we recognize how political authority was being portrayed during that time and how it portrays the cultural identity which was being practiced during those times. In both examples, there was exercising of power as represented and seen in the portraits and their significance and this is still relevant to us in our current life because there is still political authority and power. Both examples are showing how important it is to represent the whole cultural massage within a framework in which people can relate to and convey the significance. Both the portraits have elaborated the political theme generally and by analyzing them, we can learn the culture which gives us a rounded way of looking at situations, politics, power and from that we can rewind that experience from the past and see how different and how similar it is to our own. From this we gather and obtain knowledge which is important in how we view the world around us. In both examples, power and authority has dominated the portraits and despite this similarity, there is a difference on how it was being delivered. In the first example which is Portraits of tetrarchs (late empire Rome) it showed how the authority was solid and stable and how the emperor worked together to ensure that there was

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Everyone has been created unique and there is no other that is the like anyone else. People think different, dress different and like and dislike certain things. This is similar to the artists of the nineteenth century including Pierre Etienne Theodore Rousseau and Joseph Mallord William Turner. They are both artists during the nineteenth century and were painted at the same time; however, there is a difference between their styles, their point of view, and the scenery. However there are similarities between the two paintings. The paintings that will be compared and contrasted are “Under the Birches, Evening” and “The Campo Santo, Venice.”

Discuss how the social, cultural and historical context shaped the meanings communicated in the artwork.

In this essay, I will be comparing and contrasting artists Pablo Picasso and Van Gogh, considering their intentions with their artwork. Van Gogh and Picasso two of the most famous artists out there and still are to this day. Uncountable books have been published and dedicated to them and their lives and careers of being true artist. Their art has changed the way people view things and the world around them.

When we look at the history of the Middle Ages and the Renaissance, we always like to use the confinement of thinking and the liberation of ideas to sum up the two, especially in the art, the medieval paintings are often used in dark colors, deformed three-dimensional concept Showing the real world, and often less a bit human nature. And after the Renaissance, the painting masters are the opposite of it. I am not here to comment on their good or bad, but from the artistic point of view, to explore whether a good form of art needs to reflect the community and a wide range of civilizations

The flourishing art market of this era and the high demand of Pieter Brueghel the Elder’s paintings drove his son to dedicate his time to recreating a body of low-priced and inspired replicas of his father’s peasant scenes works (ArtUK, 2016). Akin to his father, he painted sceneries, religious matters, axioms and small town landscapes. The paintings were sold for local sale and export and were generally noted as missing humanism and nuance. In addition, he did create authentic