Velazquez At The National Gallery And ArtSleuth – Assignment Example
The paper "Velazquez At The National Gallery And ArtSleuth" is an excellent example of an assignment on visual arts&film studies.
A brilliant Spanish painter of the seventeenth century, Diego Velasquez, was famous for his incredible talent to convey wonderful still-life details and portraits. His well-known paintings of Spanish taverns and kitchens take one's breath away with tangible lines and warm atmosphere. Seeming simplicity of his still-life group was often complemented with religious scenes on the background. Many of Velasquez's pictures of kitchens contain religious paintings hanging on the walls somewhere in the back, which makes his works carry a powerful moral message. It is interesting that young and old faces can be found together almost in every painting making one think of the evanescence of human life. At the age of 23, Velasquez moved from Seville to Madrid, where he painted a portrait of the Spanish King Philip IV. The King was so impressed with it that made Velasquez a royal court painter. The exposition of portraits of the royal family members and pictures of taverns is enriched with a series of magnificent paintings of ancient Gods of Greek mythology like Mars and Venus.
2. Rembrandt's The Return of the Prodigal Son is based on a New Testament story about a young man who turned his back on his family. It contains a father embracing his prodigal son and a few curious onlookers. It is more than just a touching reunion. He left his home full of ambitions, but squandered his inheritance on women and wine and eventually touched the bottom. Finally, he brought down his pride and got back to his father, who welcomed him with open arms to the jealous frustration of another son standing on the right of the painting. The kneeling posture of the son reflects his shame; his tatters show us what he has been through and the father's possessive hands on his back seem to comfort and heal his very soul. However, Rembrandt, who was cursed by the church, tried to do his best to conceal the religious symbolism of this story in his own painting. Another version of this biblical series of novels some painted 20 years earlier became a symbol of vanity and pleasures of the flesh, which Rembrandt condemned. This picture turned out to be a self-portrait of the painter.