Museum Assignment: Portrait Comparison Between the 17th and 19th Centur

The Flemish seventeenth degree centigrade artist Peter Paul Reubens and the nineteen century French artist Jean Auguste Dominque Ingres had little in common besides their occupation, as two utilized very different styles in their art. Reubenss work is sort beneath the Baroque style, a gunpoint between 1600 and 1750 as a contrast to the prior perfection of Renaissance art, whereas Ingress work is under Neoclassicism, which praised the Greek and Roman classics that inspire the Renaissance artists (Kleiner). Yet the two make out time periods and samaraing styles that influenced the painters also share small similarites, through optical quality and iconography. Reubens portrait of Susanna Fourment and Ingress portrait of Franoise Poncelle clearly buy the farm to the specific artistic movements, but some aspects of painting remain timeless, with distributively artist drawing inspiration from prior work. Peter Paul Reubenss paintings were heavily influenced by his studios locatio n in Antwerp. The citys banking industry led to an wildness upon works that a family could purchase, much within the upper middle class instead of the immensely wealthy. This emphasis allotted more time to be put into portraiture, in inject of the large scale church altarpieces or palace paintings, which could be displayed in the familys homes with more modesty. The Baroque period, a term that comes from the Portugese word barroco, or irregularly shaped pearl (Kleiner), is known for its bright colors, emphasis on realitys relationship to fantasy, theatric quality, and dramatics. Many of Reubenss paintings are allegorical, colorful, and inspired by numerous artists of the past as well as his actual time. After the Renaissance period, artists took the classically influ... ... This painting style emphasized immanent human form instead of Smooth finishes replaced thick swirls or dabs of paint to accurately wreak the human form, which is shown explicitly in Ingress portrait. Alth ough twain pieces are portraits, each portrays the subject in differing manners. The harsh lines and blurred strokes convey a mysterious attachment to Reubens portrait, whereas the defined lines and photographic expatiate within Ingress portrait attach a formal connotation. The lead for home based patronage spread from Antwerp in the late 16 hundreds into the early eighteen hundreds in France, yet what makes a portrait real exemplary moved with the time shift. Each work reflects the time period while continuing to explore parallels between various artistic styles as well as movements, connecting artists together through their differences and similarities.