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Red bowl with bananas Still Life, Натюрморт, Natura morta, Zátiší, Stilleben Stillleben, Natüürmort, Bodegón, Pentrita Aranĝitaĵo, طبیعت بی‌جان, Nature morte, Natureza morta, 정물화, Նատյուրմորտ, Mrtva priroda, Natura morta, ნატურმორტი, Natiurmortas, Csendélet, Natura mejta, Stilleven, 静物画, Stilleben, Martwa natura, Natureza-morta, Натюрморт, Still life, maliarstvo, Tihožitje, Мртва природа, Mrtva priroda, maalaustaide, Stilleben, ภาพนิ่ง, Натюрморт, Natürmort, Натюрморт
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Red bowl with bananas Still Life


   

Red bowl with bananas Still Life

 
English Red bowl with bananas Still Life
Renacentist style
Oil on canvas
18 " by 24"
  still life banannas with red bowl © Yoyita   Italiano Ciotola rossa con le banane Still life
Olio su tela
18 da 24 pollici
Previous     Renaissance    Next   Precedente     Rinascita    Dopo
Español
Cuenco rojo con plátanos Naturaleza muerta:
Oleo sobre lienzo
18 " by 24"
  Portuguese renaissance angel yoyita renacimiento, angel Renaissance, ange Renaissance, Engel rinascita, angelo renascimento, angel ルネサンスすなわち天使 文艺复兴天使Yoyita
Bacia vermelha com bananas Natureza morta
Óleo na lona
18 por 24 polegadas
Anterior    Renacimiento    Siguiente   Precedente     Renascimiento    Em seguida
Français

Bol rouge avec des bananes Nature Morte
Peinture à l'huile sur toile
45.7 cm per 60.96 cm

  日本語

バナナ静物と赤のボウル
キャンバスでオレイン
24 インチによって18

Précédent     Renaissance    Après   前     ルネサンス    次に
Deutsch renaissance angel yoyita renacimiento, angel Renaissance, ange Renaissance, Engel rinascita, angelo renascimento, angel ルネサンスすなわち天使 文艺复兴天使Yoyita

Red Schüssel mit Bananen Stilleben
Öl auf Segeltuch
18 durch 24 Zoll

  中国

红香蕉碗静物
在帆布上的油
由 24 英寸所作的 18

Vorhergehend     Renaissanceart    Zunächst       上次     文艺复兴    未来
         
   

Red bowl with bananas Still Life

A triangular composition is the strongest of all compositions; it speaks directly to our spirit. In this example, a spherical bowl filled with green, whites, reds, orange and yellow vegetables is flanked by bananas on the right and a red bell pepper with jalapeno hot peppers at the left.

We can see a triangle of the white table, with the light guiding us though the painting toward the elements.

 

 

A still life is a work of art which represents a subject composed of inanimate objects. It is a very under rated style of painting although it has been the most widely sold types of art ever. Popular in Western art since the 17th century, still life paintings, such as of flowers or fruit, give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture.

still life paintings often adorn the walls of ancient Egyptian tombs. It was believed that the foodstuffs and other items depicted there would, in the afterlife, become real and available for use by the deceased. Similar paintings, more simply decorative in intent, have also been found in the Roman frescoes unearthed at Pompeii and Herculaneum. The popular appreciation of still life painting as a demonstration of the artist's skill is related in the ancient Greek legend of Zeuxis and arrhasius.

Through the Middle Ages and the Renaissance, still life in Western art was mainly used as an adjunct to Christian religious subjects. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and disguised symbolism led them to lavish great attention on the meanings of various props and settings within their paintings' overall message. Painters such as Jan van Eyck often used still life elements as part of an iconographic program so dense that scholars to this day are still debating the possible symbolic significance of each flower, candle, or stone.

still life came into its own in the new artistic climate of the Netherlands in the 17th century. While artists found limited opportunity to produce the religious art which had long been their staple (images of religious subjects were forbidden in the Dutch Reformed Protestant Church), the continuing Northern tradition of detailed realism and hidden symbols appealed to the growing Dutch middle classes, who were replacing Church and State as the principal patrons of art in the Netherlands.

Especially popular in this period were vanitas paintings, in which sumptuous arrangements of fruit and flowers, or lavish banquet tables with fine silver and crystal, were accompanied by symbolic reminders of life's impermanence. A skull, an hourglass or pocket watch, a candle burning down or a book with pages turning, would serve as a moralizing message on the ephemerality of sensory pleasures. Often some of the luscious fruits and flowers themselves would be shown starting to spoil or fade. The popularity of vanitas paintings, and of still life generally, soon spread from Holland to Flanders, Spain, and France.

The French aristocracy of the 18th century also employed artists to execute paintings of bounteous and extravagant still life subjects, this time without the moralistic vanitas message of their Dutch predecessors. The Rococo love of artifice led to a rise in appreciation for trompe l'oeil (French: "fool the eye") painting, a type of still life in which objects are shown life-sized, against a flat background, in an attempt to create the illusion of real three dimensional objects in the viewer's space.

With the rise of the European Academies, most notably the Académie française which held a central role in Academic art, and their formalized approach to artistic training, still life began to fall from favor. The Academies taught the doctrine of "Hierarchy of genres" (or "Hierarchy of Subject Matter"), which held that a painting's artistic merit was based primarily on its subject. In the Academic system, the highest form of painting consisted of images of historical, Biblical or mythological significance, with still life subjects relegated to the very lowest order of artistic recognition.

It was not until the decline of the Academic hierarchy in Europe, and the rise of the Impressionist and Post-Impressionist painters, who emphasized technique and design over subject matter, that still life was once again avidly practiced by artists. Henri Fantin-Latour is known almost exclusively for his still lifes. Vincent van Gogh's "Sunflowers" are some of the best known 19th century still life paintings, and Paul Cézanne found in still life the perfect vehicle for his revolutionary explorations in geometric spatial organization.

Indeed, Cézanne's experiments can be seen as leading directly to the development of Cubist still life in the early 20th century. Between 1910 and 1920, Cubist artists like Pablo Picasso, Georges Braque, and Juan Gris painted many still life compositions, often including musical instruments, as well as creating the first Synthetic Cubist collage works, such as Picasso's "still life with Chair Caning" (1912).

Artists in the United States, largely unburdened by Academic strictures on subject matter, had long found a ready market for still life painting. Raphaelle Peale (1774-1825), eldest son of Revolutionary era painter Charles Willson Peale, was the first American still life specialist, and established a tradition of still life painting in Philadelphia that continued until the early 20th century, when artists such as William Harnett and John Frederick Peto gained fame for their trompe l'oeil renderings of collections of worn objects and scraps of paper, typically shown hanging on a wall or door.

When 20th century American artists became aware of European Modernism, they began to interpret still life subjects with a combination of American Realism and Cubist-derived abstraction. Typical of the American still life works of this period are the paintings of Georgia O'Keeffe, Stuart Davis, and Marsden Hartley, and the photographs of Edward Weston.


Much Pop Art (such as Andy Warhol's "Campbell's Soup Cans") is based on still life, but its true subject is most often the commodified image of the commercial product represented rather than the physical still life object itself. The rise of Photorealism in the 1970s reasserted illusionistic representation, while retaining some of Pop's message of the fusion of object, image, and commercial product. Typical in this regard are the paintings of Don Eddy and Ralph Goings. The works of Audrey Flack add to this mix an autobiographical Feminist message relating to cultural standards of female beauty. While they address contemporary themes, Flack's paintings often include trompe l'oeil and vanitas elements as well, thereby referencing the entire still life tradition of Western art.

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Red bowl with bananas Still Life, Натюрморт, Natura morta, Zátiší, Stilleben Stillleben, Natüürmort, Bodegón, Pentrita Aranĝitaĵo, طبیعت بی‌جان, Nature morte, Natureza morta, 정물화, Նատյուրմորտ, Mrtva priroda, Natura morta, ნატურმორტი, Natiurmortas, Csendélet, Natura mejta, Stilleven, 静物画, Stilleben, Martwa natura, Natureza-morta, Натюрморт, Still life, maliarstvo, Tihožitje, Мртва природа, Mrtva priroda, maalaustaide, Stilleben, ภาพนิ่ง, Натюрморт, Natürmort, Натюрморт
DEFAULTSORT:Still Life Category:Art genres Category:Still life painters



Red bowl with bananas Still Life Copyright 1976-2013 Dr. Gloria M. Norris.  Click     to contact the artist for prices or information