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Venture // Baxter Home
by Emily Simmons
169 blocks • 20 days ago
AD - deck
by linny evans
51 blocks • 14 days ago
Graphic: DECK
by Velko Kalchev
42 blocks • 8 days ago
decked out
by lo alejo
15 blocks • 28 days ago
Free templates for freelancers
Free templates for freelancers
The Dark Art of Pricing
The Dark Art of Pricing
+166 more blocks
art
by Emily Simmons
22 blocks • 8 months ago
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how-to-apply-the-makeup-of-a-renaissanc…
byun young geun
byun young geun
BAROQUEReflecting the Invisible or Distorting the Visible: Mirrors in Art ByAlina ManevskayaPublished on July 19, 2017SHARETWEETCOMMENT People have always been fascinated with their reflections. In the visual art the mirror has been interpreted as an instrument to show admiration or self-admiration, to show hidden objects or people, demonstrated from a different perspective, but also it has been used as a pictorial instrument for demonstrating the artist’s skills at painting distorted objects or reflections of people, unseen in the foreground. In fact, the mirror is a crucial element in the art of painting, because many famous self-portraits would not have existed, if there were no mirrors. The Arnolfini Portrait Jan Van Eyck painted his famous example of the Arnolfini portrait in 1434. The portrait depicts a painted couple as they exchange vows. The mirror in the background is decorated with ten images of Christ’s life. In the reflection we see a beautifully painted room with the couple, all the objects, but also with two more people that can be interpreted as accidental witnesses of the wedding ceremony. If we assume their position as witnesses looking at the couple, and also the artist’s signature below, saying that “Jan Van Eyck was here”, we may conclude that by including these two people in the reflection, the artist allegedly wanted us, the viewers, to feel like himself and another witness, looking at the couple and being reflected in the mirror. Jan van Eyck. Giovanni Arnolfini and His Wife (the Arnolfini Portrait). 1434. The National Gallery, London. Mirrors in art Jan van Eyck. Giovanni Arnolfini and His Wife (the Arnolfini Portrait). 1434. The National Gallery, London. Las Meninas A similar situation occurs in another famous picture, painted by Diego Velazquez in 1656. “Las Meninas” (“The Maids of Honour”) is a group portrait of members of the Royal House of Habsburg, surrounding Infanta Margherita and offering her a flagrant of water. In the mirror, which hangs among different pictures on the wall, we see an image of the king and the queen, while on the left of the painting the artist painted himself holding a brush and a palette in front of a large canvas and looking at the viewer. If we as the viewers stand in front of the painting, we will look at the painted mirror and see the king and the queen. Moreover, we may assume that through the mirror the artist wanted us to feel like them and he is painting our portrait while looking at us. Diego Velazquez. Las Meninas (the Maids of Honor). 1656. Madrid, Museo Nacional del Prado. mirrors in art Diego Velazquez. Las Meninas (the Maids of Honor). 1656. Madrid, Museo Nacional del Prado. Bar at the Folies-Bergere Edouard Manet’s “Bar at the Folies-Bergere” is a famous image of an entertainment bar in Paris, with a barmaid standing in front of the counter to offer drinks and refreshments to prospective clients. In this picture, the mirror shows us the back side of the establishment with all the people and the trapeze artist’s legs in the left-hand corner. Apart from that, the mirror also demonstrates the barmaid’s back from a different point of view. She is turned towards the client, whose silhouette is just visible in the right-hand corner of the reflection to the right of the painting. Thus, in this painting, the mirror is used to show the inner side of the Bar at the Folies-Bergere with all its hustle and bustle, but also with the barmaid as a commodity, selling herself to her prospective client while standing at the counter. Edouard Manet. A Bar at the Folies-Berger. 1881-1882. London, Courtauld Institute Gallery. mirrors in art Edouard Manet. A Bar at the Folies-Berger. 1881-1882. London, Courtauld Institute Gallery.
BAROQUEReflecting the Invisible or Dist…
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references
by Emily Simmons
170 blocks • about 2 months ago
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nike_igc_vg-1746.jpg
COOL CHANELLS
by N G N O A T T O
348 blocks • 8 days ago
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