Art History Museum Essay, Research Paper

As a pupil of art history, traveling to a museum is the lone manner to

to the full see a work of art. By merely looking at a picture or sculpture in a

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book or on a slide, you can non to the full see the work of art. By traveling to the

Metropolitan Museum of Art, I was able to look at pictures that dated from

centuries old, to recent times. City of bridgess, The Life and Miracles of Saint Godelieve,

fifteenth Century, Tempera on wood The Proto-Renaissance alter piece, The Life and

Miracles of Saint Godelieve was done by the creative person Bruges. This piece is really

typical of its clip period. The rubric entirely, summarizes what art was in this

period, spiritual. The painting itself is non proportionate, has no vanishing

point, and the saints have a globe-like aura. All the faces look the same, if

you walked down the street, you would non be able to pick out an person

theoretical account for this picture, because there likely was no patterning done. Raphael,

Madonna and Child Enthroned with Saints, 1504, oil on wood The Raphael

alter-piece, Madonna and Child Enthroned with Saints, was painted in 1504. The

surface is really smooth, you can non see any brushstrokes. The figures are placed

in a pyramid form, with the Madonna? s face as the centre, and the spectator as

the worm? s eye-view position. The face? s still all look the same, but

there is much more item in this piece than in The Life and Miracles of Saint

Godelieve. The bright colourss, inside informations, size of the alter-piece, and what we now

recognize as aura on the angels make this work a typical Raphael. Designed by

Francesco di Giorgio, Gubbio Studiolo, 1476, wood trompe-l? oeil The Gubbio

Studiolo is astonishing. At a first glimpse everything looks existent. But so at a

closer expression, you realize the benches and cabinets that are at that place, are non existent

benches and cabinets at all. It? s all wood inlayed on a wall. To make

shadows, the creative person used different types of wood. It is supposed to hold the

consequence of holding the spectator think everything is three dimensional. Even the

ceiling is portion of this consequence. The scene this work depicts has all facets of

larning portrayed ; faith, scientific discipline, music, and literature. The creative person topographic points

points typifying these different parts of acquisition by puting them into the

“ cabinets ” that are all about. Bronzino, Portrait of a immature Man,

1550, oil on wood The mannerist work, Portrait of a Young Man was done by

Bronzino. The picture contains facets conveyed by the mannerist period. The

immature adult male is keeping a book, which leads the spectator to do the premise that

he his really learned. The adult male conveys an attitude toward us, as if he is the

best. The composing itself has “ hidden ” grotesques all over. The

adult male? s eyes are intentionally distorted, one oculus is looking straight out, while the

other is looking towards the side. His lon

g fingers are placed in really uneven

places, doing this piece really mannerist. Rubens, Wolf and Fox Hunt,

1615-1621, oil on canvas Wolf and Fox Hunt by Rubens was created between 1615

and 1621. This highly big picture has really soft colourss. The picture is

visible radiation and airy. To look at it, is like looking at a existent scene through an early

forenoon mist. This temper is created by the soft brushstrokes that are used. For

illustration, in the Equus caballus? s tail, you can see all the brushstrokes, which gives

the hair deepness. Rembrandt, Self-Portrait, 1660, oil on canvas Rembrandt? s

Self-portrait, done in 1660, creates a dark, unpleasant temper. Rembrandt looks

worn out, tired, and really unhappy. All of his pictures in the museum portray

this darkness. There is one visible radiation beginning that casts a glooming shadow over

everything, which in his Self-portrait, tells the spectator, that at this point in

his life, he was really unhappy. Rembrandt does non heighten his characteristics, but

alternatively, makes them worse. Boucher, The Interrupted Sleep, 1750, oil on canvas

The feminism, and about flashiness of the Rococo period is conveyed through The

Interrupted Sleep. This picture is really little in size like many of the

pictures done during this clip. The composing itself is really animal, with

the soft pastel colourss and the soft, pink organic structures of the adult female. The usage of the

Canis familiariss show the profusion that ran through this period in history. Lepage, Joan of

Arc, 1880, oil on canvas The nineteenth century painting Joan of Arc was painted by

Lepage. What makes this my favourite nineteenth century picture is the reality of

Joan of Arc. It looks as if the creative person took a snap shooting of the theoretical account, enlarged

it and placed it onto a painted background. Besides, the size of this picture is

incredible. It is disputed as to which period Joan of Arc belongs to. Some say

it is portion of the Romantic motion and some say it is portion of the Realist

motion, and still, others claim it is portion of both motions. Georgia

O? Keeffe, Gray Line with Lavender and Yellow, 1923, oil on canvas The twentieth

century work, Gray Line with Lavender and Yellow by Georgia O? Keeffe is

nil like what has been done before it. There is no capable affair, except

how the different colourss are used. This picture is a image of nil. The

creative person uses grey, bluish green, lavender, pink, xanthous, and blue to portray something

that is non existent. She wants the spectator to utilize the head and imaginativeness to do

up their ain composing. Grey Line with Lavender and Yellow helped interrupt the

thought that art had to be a picture of something. To to the full see a work of

art, you must travel see it in individual. Analyzing them in category should non be the lone

clip you see them. To be in a room that is filled with pictures by Raphael and

Rembrandt is rather an experience that everyone at least one time in their life

should hold a opportunity to make.



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