Ruisdael Vs. Monet :: essays research papers

Ruisdael and M sensationtWhen one(a) arrives in earlier 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 characterizations and sculptures deep down the building. Through chronological and thematic paths, the museum takes the viewer finished the major contributors to the growth of art, from around the world. Separated by only a marble floor, the direction containing Salomon Van Ruisdaels Landscape with Cattle and an hostel, differs greatly from that of Claude Monets, Railroad pair at Argenteuil. These two paintings, when surrounded by the art of their contemporaries, create an surround for the viewer that parallels their original context.The halls of the Museum are set up in a long and slim rectangle with open doorways between all of them. The opening vestibule 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, composition intricately carved panels hold the grand window directly crosswise from the door. Rich in color, the walls make one feel very satisfied in this intimate surrounding. The feel of the wood almost brings the viewer indorse 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 be labeled directly under or beside the painting, there are exactly 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 form of the artist. Because the viewer is satisfactory to view Ruisdaels Landscape with Cattle and an I nn 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 impolite but simple colors and detailed brush strokes of the Dutch landscapes. The olive-drab wood walls shape the gallery into that of a living room in an old Dutch cottage.