Pieter Bruegel's Oil Painting

The purpose of this paper is to give a detailed art analysis of the oil on canvass painting, Light of the Incarnation (Lux Incarnationis),1888, signed and dated: lower right. This analysis will also include background of its artist, Carl Gutherz (1844-1907).

Museum visitors can see paintings by the seventeenth-century Dutch artist Jan Vermeeer, but you cannot see how he achieved his remarkable effects. Most of his paintings showed simply furnished household rooms. The people and objects in these rooms seem so real that the paintings resembled photographs. Vermeer’s use of perspective and light would also contribute to the paintings’ realism. Some art historians believe he used a gizmo called a camera obscura. This machine projected an image onto a flat surface so you could draw it. For most experts, Vermeer’s possible use of technological aids does not make his totally fabulous results less impressive. It is agreed by art historians that the paintings are masterpieces. Vermeer’s paintings are admired

I chose a work of art in page 368. The swing, Figure 12.25, paintings by Jean-Honore Fragonard in 1766. which show the frivolous sexual escapades of the members of the French aristocratic class in the mid-eightteeth century. The painting is done in pre-French Revolution era. When the elite was enjoying the worry free lifestyle; which is full of love, lust, and wealthy social life, exquisite clothing. This is clearly shows in this picture, The swing. Medium in this painting is Oil paint. The positive area of this art work is the aristocratic women who is enjoying the swing. The natural patterns in this painting is the freshness that come from the trees and leaves around the women.

As I walked to The Art museum to observe a few of the art work. There were many canvases, but one particular canvas that caught my attention was an oil painting. The oil painted canvas is of a realistic mysterious woman and a phonograph, by the artist named Robert Bean. The woman shown in this painting has short dark brown hair with a long black beautiful one shoulder dress; her skin color is very light that gives that beautiful glow. Her long black dress has a mixture of dark blue and white. She is standing with her arms semi-crossed with one hand holding a small white fan. The small fan has a design of brown flowers. She is standing sideways on the right of the canvas with a piece of light green fabric around her arms; the light green material has a tent of light blue and

Have you ever gotten so into a song or a piece of music that you feel like it is a part of you? In Peter Vigil’s Painting, Celle-no Hands Required he describes just that. In the painting, Celle-No Hand Required, Peter Vigil uses bold color use and solid lines to express that musicians don’t just play their instrument or music, they become it.

Pieter Brueghel was a Netherland painter whose paintings focused on humans and nature. Many of his paintings were scenes of humans, generally peasants, living life, with back dropped by beautifully detailed landscapes. Pieter was not just an extremely talented artist; his perception of humans and their environment was an amazing contribution to all art, but especially landscape painting. His painting The Harvesters is an example of his supreme skill, and shows how much his work impacted landscapes. Four contributions that can be seen in this painting are:

Pieter Bruegel was nicknamed “Peasant Bruegel” because he usually depicted commoners. Additionally, there was a rumor of him being born a peasant since he only depicted them in his art. He portrays the peasants very closely, right down to the worn costumes and vehement gestures they are making. Since he paints peasants so accurately and closely, he must have observed their day to day life with fascination. Pieter Bruegel was interested in peasant life and saw a potential to use them to depict morals in his artwork.

Telling a story in a painting is common for artists, but Pieter Bruegel the Elder was capable of doing more than that: some of his artwork had multiple stories embedded in them, which had much more meaning than a single narrative could have. Bruegel was famous for painting landscapes and peasant scenes. He differed from Southern Renaissance artists, in that he gave more space to the landscape in his paintings. Bruegel employed folk to present the moral values, and he used elevated viewpoint to create more space for landscapes in his paintings.

Pieter Bruegel was born to paint. Many people in his family were painters, such as his wife's family. Pieter painted beautiful landscapes and scenes from peasant life. His paintings use wonderful colors and proportion. He was from Italy, the birthplace of the Renaissance and was a very gifted painter. Pieter Bruegel was a Renaissance man. He painted many realistic scenes of peasant life. His paintings resembled the idea of realism in this time period. It showed what peasant life would have looked like. Bruegel was born in modern day Netherlands. He contributes to society and the legacy of the Renaissance by painting realistic scenes. Many historians get an idea of what peasants life would look like because of his accurate and realistic paintings.

Over time paintings were becoming more like Pieters. People were more interested in art and improving it to tell stories. In the painting it's easy to tell that this is not a religious piece because of the colors, sizing, perspective. As time went on it was easy to notice that the paintings were starting to become more colorful and realistic. The background shows a normal cloudy day rather than the gold background more religious pieces had.

In his oil painting, The Waterhouse, artist Paul Bond illuminates the beauty of nature by juxtaposing it against man’s structured world. The observer’s eyes are immediately drawn to the large fireplace in the center of the painting. It is prominently displayed in the center of the painting with a scene of an ocean replacing firewood. He uses linear perspective to create a draw the viewer’s eyes toward the center of the painting. From the mantel, the tranquil ocean is overflowing into the dreary room.

The first major change from the myth to the painting is the time period where the story is taking place. One of the major indicators of the change in time period is the city that is located in the upper left-hand side of the painting. The image features a city filled with buildings that would have fit in with those seen by Bruegel during his life. The architecture appears to be what would be found in the Netherlands, with the tall buildings with sharp points where the two sections of roof intersect and the buildings packed tightly together as if to stay warm throughout the harsh winters. On the peninsula farther from the audience there is a small church which can be identified by its tower rising above the town, another architectural staple of Bruegel’s time. Additionally, the roofs are painted a red color. This color also serves to set the painting in Bruegel’s time as the red roofs would remind a viewer of Renaissance Italy and not Ancient Greece. The red roofs also demonstrates that Bruegel wanted the audience’s eyes to go to this spot on the painting as the red color contrasts with the surrounding white and blue. With the city, Bruegel effectively sets the painting in his own time and demonstrates through his color choices that he wants the audience to know this. Setting the painting in his time is significant as it demonstrates to the viewer that the message which is being delivered is a modern message.

Bruegel’s drawing and paintings are considered Renaissance Flemish Baroque paintings, which is art from the Southern Netherlands during the 16th and 17th centuries. Bruegel’s paintings were an invention of moving away from the princes, queens, kings and wealthy divine paintings, to the life of the peasants. The common people caught the eye of Bruegel, possible from the political and religious conflict that surround him in his world.

In Martial Raysse’s vibrant painting Printemps (Spring), a sea of flowers is spread across the canvas and located in the upper right corner is a neon blue sign with the title of the piece. As an oil on cloth painting at the size of 51 1/8 × 38 1/8 × 3 1/8 in. located at the Menil collection in Houston, TX, its usage of color, rhythm, and balance the piece comes together to highlight the society’s growing desire for change following the middle of the century.

"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.