art essay
Art Essay-
The context, of which art is created, clearly reflects its history and where it is from. Society’s values are further highlighted by the piece and give us insight into what life was like. This is interestingly interpreted by Juan Bautista de Espinosa’s exuberant baroque style painting, with a heavily catholic influence from Spain in the late 1500’s, as well as Margaret Olley’s contrasting and simplistic sensibility of the mid 20th century. Each artist’s aesthetic, although significantly different; equally allow us to understand a certain time and place
Juan Bautista de Espinosa was born in 1590c. into a heavily Catholic family and country. Originally a gilder of altarpieces, Espinosa mastered the technique of still-life in the nearby Holland, where the style originated. He would later infuse this popular subject with the extravagant Baroque movement, which was already dominating the Spanish Empire.
This marriage of realism and opulence is a clear representation in Juan’s 1624 work, “Still life of silver gilt salvers, a fluted cup, red clay bowls, salt cellars, flasks of water and wine and other objects”, which displays a precise array of gold and silverware for communion, and is a clever reference to the traditional style of painting. Espinosa’s routes in Dutch training, is clearly coherent throughout the work, from the tragically placed subject to the sheer detail of it. As well as staying true to the style, the painting is a clear ohmage to his country and his faith. Reflecting the baroque style of painting in the excessive use of Gold and ochre, it further emphasises the extravagance of the country and its faith at the time with the bold use of colours associated with Spanish royalty. This is all contrasted by the ominous and sombre tones of the background, which is a possible representation of how serious the subject of faith was at the time. The tones, as well as the gold display it is framing, continue the ornate theme of Spanish Catholicism
The context, of which art is created, clearly reflects its history and where it is from. Society’s values are further highlighted by the piece and give us insight into what life was like. This is interestingly interpreted by Juan Bautista de Espinosa’s exuberant baroque style painting, with a heavily catholic influence from Spain in the late 1500’s, as well as Margaret Olley’s contrasting and simplistic sensibility of the mid 20th century. Each artist’s aesthetic, although significantly different; equally allow us to understand a certain time and place
Juan Bautista de Espinosa was born in 1590c. into a heavily Catholic family and country. Originally a gilder of altarpieces, Espinosa mastered the technique of still-life in the nearby Holland, where the style originated. He would later infuse this popular subject with the extravagant Baroque movement, which was already dominating the Spanish Empire.
This marriage of realism and opulence is a clear representation in Juan’s 1624 work, “Still life of silver gilt salvers, a fluted cup, red clay bowls, salt cellars, flasks of water and wine and other objects”, which displays a precise array of gold and silverware for communion, and is a clever reference to the traditional style of painting. Espinosa’s routes in Dutch training, is clearly coherent throughout the work, from the tragically placed subject to the sheer detail of it. As well as staying true to the style, the painting is a clear ohmage to his country and his faith. Reflecting the baroque style of painting in the excessive use of Gold and ochre, it further emphasises the extravagance of the country and its faith at the time with the bold use of colours associated with Spanish royalty. This is all contrasted by the ominous and sombre tones of the background, which is a possible representation of how serious the subject of faith was at the time. The tones, as well as the gold display it is framing, continue the ornate theme of Spanish Catholicism
Bibliography: “Margaret Olley”, By Barry Pearce, 2012 “The Art of the Still Life: Still Life Painting in the Early Modern Period”, 1990, By Norbert Schneider