#finarts

there are two wolves selves inside you.

The light that comes in from the background, the spatial geometry, and the range of colors are characteristic of the artist. In the foreground there is a woman preparing bread and butter for a child, presumably her son. He seems to be the praying. Behind the door is a building with a sign that says "Schole" or school, that must be where the boy is preparing to go. Between the room in the foreground and the street outside is another room where we can see the silhouette of a man, presumably the father. This painting is like a diagram of what life should be like in the minds of 17th century Dutchmen. It expresses an ideal of domestic life, based on maternal care, which will prepare the child for his future in the outside world.

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URBAN LADY

Pieter Steenwijck, Vanitas Still-life (Allegory of the Death of Admiral Tromp) c. 1655, 79 x 101 cm, Leiden, Museum De Lakenhal, inv. nr. S 409 This was painted on occasion of the death of a famous naval hero from The Netherlands, Admiral Tromp, whose portrait we see printed on a piece of paper. The picture is by Pieter Steenwijck a Dutch artist. He made this around 1655. There is no doubt here that the artist wants to make a reference to death. Look at the candle that still smokes. And look at the skull. Like always with still-life painting, this is also about the pleasing arrangement of the objects and about the skill of the artist to make all these different things look realistic.

In Michelangelo's art, as in the art of Leonardo and Raphael, we seem to be in a high place, untouched by human life. In Rembrandt all the weight of real life experience seems to have fallen on the figure.

The figure of the girl shows a limited knowledge of anatomy. Attention on the red skirt and one will notice that there seems to be nobody no legs underneath. The head also is excessively schematic. The foreshortening of the table is somewhat awkward. The drapery has an excessive presence in comparison to the rest of the scene, and relative to its importance. These inconsistencies are the result of Zurbarán's training far from the main artistic centers of the time.

Titian, Ranuccio Farnese, 1542, 90 x 74 cm, Washington D.C., National Gallery of Art Titian differs from them in that his career was centered in Venice and in the last part of his very long life, he developed a sketchy style that was extremely original,Titian is among the most influential portrait painters of the history of art. His idea of elegance shaped nearly all other portrait painters of the time. The name of this boy in this painting is Ranuccio Farnese, he was painted in 1542 when he was twelve years old. The cross on his black cape is the symbol of the order of Malta, an elite club-like congregation that signaled high birth. Organizations of this type are a reminder that this was a time obsessed with social status, and that paintings were used to display and maintain such status.