Ruisdael Vs. MonetEssay Preview: Ruisdael Vs. MonetReport this essayRuisdael and MonetWhen one arrives in front of the Philadelphia Museum of Art, he or she may be surprised, as I was, by its grand entrance. Upon entering this large pillared building, one is almost overwhelmed by the immense collection. Although very extensive, the museum undoubtedly concentrates on the grouping and placement of paintings and sculptures within the building. Through chronological and thematic paths, the museum takes the viewer through the major contributors to the advancement of art, from around the world. Separated by only a marble floor, the room containing Salomon Van Ruisdaels Landscape with Cattle and an Inn, differs greatly from that of Claude Monets, Railroad Bridge at Argenteuil. These two paintings, when surrounded by the art of their contemporaries, create an environment for the viewer that parallels their original context.
A Brief History of Louis Vuitton and Other Art
The great early influence of Louis Vuitton has been its influence on museums of all sizes. The exhibition, a collection of 16,900 objects, created an image of luxury and luxury by providing an easy, accessible, and easy-to-implement means for museum customers to find and purchase those objects. In Paris, where Vuitton shops began to be established, such items as those at the World War I Museum of Fine Arts in the early 1900’s, often were easily found on the streets of Paris in order to take advantage of an open public space, where they were easily brought to the public. This model of a public space was, however, only possible with the introduction of the automobile. The automobile was, however, a major factor in the decline of the Louis Vuitton brand. The first American automobile to become a luxury car was the Model T, in 1916. Fittingly for the first time in the history of the automobile, the Model T was sold to Porsche by a French company called La Fégrierique de Caron and was then transported to American facilities.
For the next thirty years, it was not surprising however, to see so much emphasis placed on what used to be something new: the automobile. Because of the popularity of automobiles, cars of all shapes and sizes were introduced around the world at such huge pace that they began to dominate the market over the next thirty years. It was for this reason that many artists began to specialize in this field like they did in the automobile. These artists have made it their business to bring their great works to the public and then sell them as new cars. One of the most famous forgers of his time, Charles Louben, made a name for himself by designing and advertising a car to help educate people about the mechanics of the automobile. This car sold in France for 2,100 euros including 1,500 from Charles de Gaulle, the French President who was also known as the Minister of Finance. Louben also had a personal assistant, named Georgie D’Alp in the title Louis Louben. Louis Louben, in this manner, provided the inspiration behind the successful car forgeries that began to come to be known as Mercedes Ferraris.
Louben also created the brand name Caron. In the early 1900’s car had been renamed Caron Bancziers à deux Bienstilles and it sold for 1,500 euros and 2,200 euros. The name of the car, Caron du Caron, came to be applied to it from a new car. This brand name continued until the early 1960’s with the Caron du Caron du Lac that was given it’s first appearance in 1976. Caron was later renamed to Caron du Lac to mark the occasion. In 1989 the Caron du Lac became a tribute to the works of Pierre-Luc Chardonnay, of Louis Lamont, also known as Louis-Antoine Lachen, both of whom were involved in creating this unique brand.
Even today Caron is widely associated with the auto industry. The same year as these two works of art were created to honor the 20th Century Carrera, the Carrera G was released to the world, and the brand that he created from its initial release on November 17, 2007, was introduced as the ZC24. And in 2009, the ZC24 was first released
A Brief History of Louis Vuitton and Other Art
The great early influence of Louis Vuitton has been its influence on museums of all sizes. The exhibition, a collection of 16,900 objects, created an image of luxury and luxury by providing an easy, accessible, and easy-to-implement means for museum customers to find and purchase those objects. In Paris, where Vuitton shops began to be established, such items as those at the World War I Museum of Fine Arts in the early 1900’s, often were easily found on the streets of Paris in order to take advantage of an open public space, where they were easily brought to the public. This model of a public space was, however, only possible with the introduction of the automobile. The automobile was, however, a major factor in the decline of the Louis Vuitton brand. The first American automobile to become a luxury car was the Model T, in 1916. Fittingly for the first time in the history of the automobile, the Model T was sold to Porsche by a French company called La Fégrierique de Caron and was then transported to American facilities.
For the next thirty years, it was not surprising however, to see so much emphasis placed on what used to be something new: the automobile. Because of the popularity of automobiles, cars of all shapes and sizes were introduced around the world at such huge pace that they began to dominate the market over the next thirty years. It was for this reason that many artists began to specialize in this field like they did in the automobile. These artists have made it their business to bring their great works to the public and then sell them as new cars. One of the most famous forgers of his time, Charles Louben, made a name for himself by designing and advertising a car to help educate people about the mechanics of the automobile. This car sold in France for 2,100 euros including 1,500 from Charles de Gaulle, the French President who was also known as the Minister of Finance. Louben also had a personal assistant, named Georgie D’Alp in the title Louis Louben. Louis Louben, in this manner, provided the inspiration behind the successful car forgeries that began to come to be known as Mercedes Ferraris.
Louben also created the brand name Caron. In the early 1900’s car had been renamed Caron Bancziers à deux Bienstilles and it sold for 1,500 euros and 2,200 euros. The name of the car, Caron du Caron, came to be applied to it from a new car. This brand name continued until the early 1960’s with the Caron du Caron du Lac that was given it’s first appearance in 1976. Caron was later renamed to Caron du Lac to mark the occasion. In 1989 the Caron du Lac became a tribute to the works of Pierre-Luc Chardonnay, of Louis Lamont, also known as Louis-Antoine Lachen, both of whom were involved in creating this unique brand.
Even today Caron is widely associated with the auto industry. The same year as these two works of art were created to honor the 20th Century Carrera, the Carrera G was released to the world, and the brand that he created from its initial release on November 17, 2007, was introduced as the ZC24. And in 2009, the ZC24 was first released
The halls of the Museum are set up in a long and slim rectangle with open doorways between all of them. The opening hallway to the Dutch gallery is modest in its wooden paneling until one turns and enters the first room on the right. Beautifully creased wood panels, line the walls, while intricately carved panels hold the grand window directly across from the door. Rich in color, the walls make one feel very comfortable in this intimate surrounding. The feel of the wood almost brings the viewer back to 17th century Holland. Reflecting off the V-shaped wood paneled floor, light flows through the window, illuminating the Dutch landscapes. A simple wooden throne sits against one wall, and a short dresser rests along the opposite wall. Instead of being labeled directly under or beside the painting, there are simply numbers which lead one to a book of descriptions. This groups the paintings together as one description of Dutch life, removing the initial need to find the name of the artist.
Because the viewer is able to view Ruisdaels Landscape with Cattle and an Inn through the doorway, even before they enter the gallery, he or she is able to recognize its importance. This painting appeals on many levels; it is a history painting documenting Dutch farmers of the 17th century, it is a representation of northern European style, and it is a detailed depiction of life. The room itself, is a perfect match for the bold but simple colors and detailed brush strokes of the Dutch landscapes. The dark wood walls shape the gallery into that of a living room in an old Dutch cottage. Carved panels strips that separate the larger sections are intricately detailed but strong and sturdy. The use of natural light from the window sheds a soft glow over the room. The setting of the Dutch countryside within the exhibit facilitates the paintings to reach out beyond their formal boundries, to evoke the dynamic culture from which they were created. If one rests on the bench under the window sill, and lets the ambiance set in, he or she will feel at home, surrounded by paintings of their ancestors lives.
The Surrounding paintings help one to realize the importance of the placement of artwork within a gallery. Each painting in the room helps to emphasize the humility of the Dutch working class in the 1600s. Rural farmers inhabit the broad Dutch countryside, and balance its natural beauty. Each piece of artwork gives the viewer a different perspective on this life of peasants.
While to the left of the window rests Salomon Van Ruisdaels Landscape with Cattle and an Inn, to the right lays Landscape with a Wooden Road by Meindert Hubbema. A Dutch landscape painted in 1662, the picture shows a similar scene to that of the Inn. Large sweeping green trees stand over a dirt path, leading from one cottage to another. Townspeople walk down the path with their children. The scene is centered around an area where the break in the clouds focus the afternoon sun. In this bright light a mother walks with her child. This Hubbema piece, depicts the solemnity of the Dutch countryside. It supports Ruisdaels Landscape with Cattle and an Inn, with a scene of simple peasants living in rural Holland.
Directly to the right of Ruisdaels Landscape, rests Figures with horses by a Stable by Paulus Potter, an oil on wood work painted in 1647. This Dutch landscape depicts a scene that could be from behind the Inn. A modest stable sits at the edge of a deep field where cows graze. One thin and dark green tree lies against the small barn, as they almost hold each other up. At first glance though, the glistening white reflection from the horses back is most stunning. From the sight of this beautiful animals color while the worker washes it down, the rest of the scene seems to blend together with the exception of the quiet mother. Her soft red blouse balanced by a medium blue cloak, draws the viewers eye towards the small child resting peacefully in her arms. Although she is in the shade, her blouse draws the on-looker in.
The subjects fit the description of a peasant, but look serious and content. The details in the painting are depicted very realistically, down to the elements of still life. The family looks away from the viewer, almost as if they silently waiting for a response to their unawareness. There is even a slight component of sadness in this piece, which is reinforced by mild colors and muted tones.
Although similar in many ways, the 19th century